Francisco José de Goya y Lucientes
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The Marquesa de Pontejos
by Francisco José de Goya y Lucientes, 1786
- Medium
- Oil on canvas
- Dimensions
- 210.3 x 127 cm (82 13/16 x 50 in)
- Credits
- Andrew W. Mellon Collection.
- Location
- National Gallery of Art
Manuel Osorio Manrique de Zuñiga (1784–1792)
by Francisco José de Goya y Lucientes, circa 1787–1788
- Medium
- Oil on canvas
- Dimensions
- 50 x 40 in (127 x 101.6 cm)
- Credits
- The Jules Bache Collection, 1949.
- Location
- The Metropolitan Museum of Art (The Met)
Yard with Madmen
by Francisco José de Goya y Lucientes, 1794
- Medium
- Oil on tin-plated iron
- Dimensions
- 16 7/8 x 12 3/8 in (42.9 x 31.4 cm)
- Credits
- Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.67.01. Photography by Michael Bodycomb.
- Location
- Meadows Museum
Vicente Maria de Vera de Aragon, Duque de la Roca
by Francisco José de Goya y Lucientes, circa 1795
- Medium
- Oil
- Dimensions
- 42 5/8 in x 32 1/2 in (108.27 cm x 82.55 cm)
- Location
- San Diego Museum of Art
Self-portrait
by Francisco José de Goya y Lucientes, circa 1796
- Medium
- Brush and point of brush, carbon black ink, on laid paper
- Dimensions
- Sheet: 5 7/8 × 3 9/16 in (15 × 9.1 cm)
- Credits
- Harris Brisbane Dick Fund, 1935.
- Location
- The Metropolitan Museum of Art (The Met)
She Is Bashful About Undressing, Leave Me in Peace (tiene cortedad de desnudarse, bayá estese V. quieto)
by Francisco José de Goya y Lucientes, 1796–1797
- Medium
- Brush and carbon black ink wash on laid paper
- Dimensions
- Image: 7-5/8 x 5 in (19.5 x 12.7 cm); sheet: 9-1/8 x 5-5/8 in (23.2 x 14.2 cm)
- Credits
- Norton Simon Art Foundation
- Location
- Norton Simon Museum
Brujas à volar (Witches Preparing to Fly)
by Francisco José de Goya y Lucientes, circa 1796–1797
- Medium
- Brush and black ink and gray wash on laid paper
- Dimensions
- 23.7 × 15 cm (9 5/16 × 5 7/8 in)
- Credits
- Woodner Collection.
- Location
- National Gallery of Art
Mascaras crueles (Cruel Masks)
by Francisco José de Goya y Lucientes, circa 1796–1797
- Medium
- Brush and black ink and gray wash with scraping on laid paper
- Dimensions
- 23.7 × 15 cm (9 5/16 × 5 7/8 in)
- Credits
- Woodner Collection.
- Location
- National Gallery of Art
Saint Ambrose
by Francisco José de Goya y Lucientes, circa 1796–1799
- Medium
- Oil on canvas
- Dimensions
- Framed: 148.7 x 225.3 x 10.3 cm (58 9/16 x 88 11/16 x 4 1/16 in.); Unframed: 190 x 113 cm (74 13/16 x 44 1/2 in.)
- Location
- Cleveland Museum of Art
Que pico de Oro! (What a Golden Beak!)
by Francisco José de Goya y Lucientes, circa 1796–1799
- Medium
- Original etching: drypoint, aquatint, engravin
- Dimensions
- 13 x 9 3/8 in (33.02 x 23.81 cm)
- Credits
- Gift of Mrs. Ruth Funk
- Location
- Rollins Museum of Art
Where is Mama Going?
by Francisco José de Goya y Lucientes, circa 1796–1797
- Medium
- Etching and aquatint
- Dimensions
- 8 1/4 x 6 1/2 in. (21 x 16.5 cm)
- Location
- Harn Museum of Art
What a Tailor Can Do!
by Francisco José de Goya y Lucientes, circa 1796–1797
- Medium
- Etching and aquatint
- Dimensions
- 12 1/4 x 8 7/8 in. (31.1 x 22.5 cm)
- Location
- Harn Museum of Art
Estan Calientes
by Francisco José de Goya y Lucientes, circa 1797–1798
- Medium
- Etching
- Dimensions
- 8 3/4 x 6 in (22.23 x 15.24 cm)
- Credits
- Museum purchase from the Wally Findlay Acquisition Fund
- Location
- Rollins Museum of Art
Los Caprichios, Rise and Fall (Subir y Bajar)
by Francisco José de Goya y Lucientes, circa 1797–1798
- Medium
- Etching, aquatint, drypoint, and burin
- Dimensions
- Frame: 19 in x 14 7/8 in (48.26 cm x 37.7825 cm); Image: 7 in x 5 in (17.78 x 12.7 cm)
- Location
- NSU Art Museum Fort Lauderdale
¿No hay quien nos desate? (Is there no one to untie us?)
by Francisco José de Goya y Lucientes, 1797–1798
- Medium
- Etching and aquatint on laid paper
- Dimensions
- 7-1/2 x 5-5/16 inches
- Credits
- Special Purchase, Friends of the Museum of Art and the Museum of Art Council. © Jordan Schnitzer Museum of Art – University of Oregon
- Notes
From Los Caprichos
- Location
- Jordan Schnitzer Museum of Art
Saint Jerome in Penitence
by Francisco José de Goya y Lucientes, 1798
- Medium
- Oil on canvas
- Dimensions
- 75-1/8 x 45 in (190.8 x 114.3 cm)
- Credits
- The Norton Simon Foundation
- Location
- Norton Simon Museum
Caprichos: There They Go Plucked (i.e. Fleeced) (Ya van desplumados)
by Francisco José de Goya y Lucientes, circa 1798
- Medium
- Etching, burnished aquatint and drypoint on laid paper
- Dimensions
- Before letters and number, plate: 21.5 x 15 cm (8 7/16 x 5 7/8 in); sheet: 31.4 x 21.5 cm (12 3/8 x 8 7/16 in)
- Credits
- The Norton Simon Foundation
- Location
- Norton Simon Museum
Ya es Hora (‘tis the hour, time to be off) from Los Caprichos
by Francisco José de Goya y Lucientes, 1799
- Medium
- Etching and aquatint
- Dimensions
- Image: 7 3/4 x 5 3/8 in (19.685 x 13.6525 cm); Sheet: 11 1/2 x 8 7/8 in (29.21 x 22.5425 cm)
- Location
- Allentown Art Museum
The Sleep of Reason Produces Monsters (Los Caprichos, 43)
by Francisco José de Goya y Lucientes, 1799
- Medium
- Etching and aquatint
- Dimensions
- Plate: 21.3 x 15.2 cm (8 3/8 x 6 in.); sheet: 30.8 x 20.5 cm (12 1/8 x 8 1/16 in); platemark: 21.9 x 15.2 cm (8 5/8 x 6 in)
- Credits
- Harvard Art Museums/Fogg Museum, Gift of Philip Hofer
- Location
- Harvard Art Museums
Portrait of the Marquesa de Santiago
by Francisco José de Goya y Lucientes, 1804
- Medium
- Oil on canvas
- Dimensions
- Unframed: 209.9 × 126.7 cm (82 5/8 × 49 7/8 in.) Framed: 235.3 × 150.2 × 9.5 cm (92 5/8 × 59 1/8 × 3 3/4 in)
- Notes
The Marquesa de Santiago strikes a commanding presence, confronting the viewer directly with her hand assertively on her hip. She stands in front of a landscape of gently sloping hills dotted with cottages made up of rough, tan brushstrokes. Her sheer white lace mantilla veil extends to her knees and she holds a closed fan in her left hand, both traditional accessories of Spanish women in the 1700s and 1800s. The Marquesa was known to wear bold makeup, enough that her acquaintances wrote about it, and here, heavily applied rouge, powder, and lipstick accentuate her features. While other portraitists of this time often flattered or idealized their sitters, Francisco Goya frankly captured the Marquesa’s appearance and confident personality.
The Marquesa, María de la Soledad Rodríguez de los Ríos Tauche, grew up the only child of a well-connected family in Madrid, eventually inheriting the three noble titles of her parents and the wealth that came with those. Married first in 1783 when she was eighteen, then again in 1790 after she was widowed, María was the one who brought greater wealth and status to her husbands. She had estates in Flanders and Spain, two million reales in capital (the Spanish currency used from the 1300s to 1860s), and two million more in silver, jewelry, and other possessions. This portrait, though painted as a pair to her second husband’s, unconventionally touts her own title, Santiago, in the inscription in the lower right, rather than his, San Adrían, which would have been typical for her to adopt as his wife. As the more elite of the couple, she may have decided to commission these portraits from Goya to add to her family’s substantial paintings collection.
- Location
- J. Paul Getty Museum
Doña Francisca Vicenta Chollet y Caballero
by Francisco José de Goya y Lucientes, 1806
- Medium
- Oil on canvas
- Dimensions
- Overall: 40 1/2 in x 31 7/8 in
- Credits
- Norton Simon Art Foundation
- Location
- Norton Simon Museum
General Nicolas Philippe Guye
by Francisco José de Goya y Lucientes, 1810
- Medium
- Oil on canvas
- Dimensions
- Unframed: 41 3/4 x 33 3/8 in (106.05 x 84.77 cm); framed: 52 1/4 x 43 3/4 in (132.72 x 111.13 cm)
- Credits
- © Virginia Museum of Fine Arts. Photo by Travis Fullerton
- Location
- Virginia Museum of Fine Arts
One can't look (No se puede mirar), from The Disasters of War (Los Desastres de la Guerra)
by Francisco José de Goya y Lucientes, circa 1810–1814
- Medium
- Etching
- Location
- John and Mable Ringling Museum of Art
Disparate pobre (Poor Folly)
by Francisco José de Goya y Lucientes, 1815–1823
- Medium
- Aquatint and etching, with retouching in drypoint and burin
- Dimensions
- Plate: 8-1/2 x 12-5/8 in.; sheet: 12-1/4 x 17-3/16 in.; mat: 16 x 20 in.
- Credits
- Gift of David and Marcia Hilton. © Jordan Schnitzer Museum of Art — University of Oregon
- Notes
Published in 1864. Plate #11 from Los Proverbios (The Follies)
- Location
- Jordan Schnitzer Museum of Art
Seated Giant
by Francisco José de Goya y Lucientes, circa 1818
- Medium
- Burnished aquatint, scaper, roulette, lavis (along the top of the landscape and within the landscape)
- Dimensions
- Plate: 11 3/16 × 8 3/16 in (28.4 × 20.8 cm); Framed: 21 3/4 × 19 in (55.2 × 48.3 cm)
- Credits
- Harris Brisbane Dick Fund, 1935.
- Location
- The Metropolitan Museum of Art (The Met)
Portrait of Don Juan Antonio Cuervo
by Francisco José de Goya y Lucientes, 1819
- Medium
- Oil on canvas
- Dimensions
- Framed: 136.8 x 105.1 x 7.3 cm (53 7/8 x 41 3/8 x 2 7/8 in.); Unframed: 120 x 87 cm (47 1/4 x 34 1/4 in.)
- Location
- Cleveland Museum of Art
Modo de Volar (A Way of Flying) from Los Proverbios series
by Francisco José de Goya y Lucientes, 1820
- Medium
- Etching and aquatint on wove paper
- Dimensions
- Image: 8 1/2 x 12 3/4 in (21.59 x 32.385 cm); Sheet: 13 3/8 x 19 3/8 in (33.9725 x 49.2125 cm)
- Location
- Allentown Art Museum
She Who is Ill Wed Never Misses a Chance to Say So
by Francisco José de Goya y Lucientes, 1864
- Medium
- Etching, aquatint and drypoint on heavy wove paper; plate 7 from the first
- Dimensions
- 8.5 x 12 1/2 in.
- Location
- Columbia Museum of Art