Francisco de goya y Lucientesb. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, | |||
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Unfortunate Events in the Front Seats of the Ring of Madrid Pintura Identificación:: 62470 Vea nuestra galería en Suecia |
Unfortunate Events in the Front Seats of the Ring of Madrid 245 x 355 mm - This is Plate 21 from the series Tauromaquia. A bull has leapt over the barrier and killed and injured a number of spectators. Goya leaves the left half of the picture empty, infringing the rules of compositional harmony. A number of spectators are nevertheless flinging themselves from right to left: out of the static balance, Goya develops a dynamic one. Author: GOYA Y LUCIENTES, Francisco de Title: Unfortunate Events in the Front Seats of the Ring of Madrid Form: graphics , 1801-1850 , Spanish , other 245_x_355_mm_-_This_is_Plate_21_from_the_series_Tauromaquia._A_bull_has_leapt_over_the_barrier_and_killed_and_injured_a_number_of_spectators._Goya_leaves_the_left_half_of_the_picture_empty,_infringing_the_rules_of_compositional_harmony._A_number_of_spectators_are_nevertheless_flinging_themselves_from_right_to_left:_out_of_the_static_balance,_Goya_develops_a_dynamic_one._Author:_GOYA_Y_LUCIENTES,_Francisco_de_Title:_Unfortunate_Events_in_the_Front_Seats_of_the_Ring_of_Madrid_Form:_graphics_,_1801-1850_,_Spanish_,_other |
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The Colossus Pintura Identificación:: 62471 Vea nuestra galería en Suecia |
The Colossus 1810-18 Mezzotint engraving, 285 x 210 mm - This engraving by Goya (Goya's only mezzotint engraving) was formerly described (by his grandson) as a 'giant'. It shows a figure seated on a hill beneath a crescent moon, a meditative, passive counterpart to the threatening Colossus of the painting in the Prado. Author: GOYA Y LUCIENTES, Francisco de Title: The Colossus Form: graphics , 1801-1850 , Spanish , other 1810-18_Mezzotint_engraving,_285_x_210_mm_-_This_engraving_by_Goya_(Goya's_only_mezzotint_engraving)_was_formerly_described_(by_his_grandson)_as_a_'giant'._It_shows_a_figure_seated_on_a_hill_beneath_a_crescent_moon,_a_meditative,_passive_counterpart_to_the_threatening_Colossus_of_the_painting_in_the_Prado._Author:_GOYA_Y_LUCIENTES,_Francisco_de_Title:_The_Colossus_Form:_graphics_,_1801-1850_,_Spanish_,_other |
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Feminine Folly Pintura Identificación:: 62472 Vea nuestra galería en Suecia |
Feminine Folly 1816-23 Etching and aquatint, 240 x 350 mm - This is Plate 1 from the series Los Disparates or Proverbios. Some of the subjects of the tapestry cartoons described as 'the pleasures of the nursery' enjoyed by grown-ups were to be transformed in Goya's late lithographs into dark, grotesque parodies. Author: GOYA Y LUCIENTES, Francisco de Title: Feminine Folly (Disparate Feminino) Form: graphics , 1801-1850 , Spanish , other 1816-23_Etching_and_aquatint,_240_x_350_mm_-_This_is_Plate_1_from_the_series_Los_Disparates_or_Proverbios._Some_of_the_subjects_of_the_tapestry_cartoons_described_as_'the_pleasures_of_the_nursery'_enjoyed_by_grown-ups_were_to_be_transformed_in_Goya's_late_lithographs_into_dark,_grotesque_parodies._Author:_GOYA_Y_LUCIENTES,_Francisco_de_Title:_Feminine_Folly_(Disparate_Feminino)_Form:_graphics_,_1801-1850_,_Spanish_,_other |
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Spanish Entertainment Pintura Identificación:: 62473 Vea nuestra galería en Suecia |
Spanish Entertainment 1825 Lithograph, 300 x 410 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. As in his early paintings, and unlike in his Tauromaquia, Goya takes a step back from the events in the ring. His focus now falls not on the battle to the death that had earlier fascinated him and inspired him to new compositional solutions, but on the bullfight as popular entertainment. Perhaps the emigr?was also inspired by reminiscences of life in Spain. Author: GOYA Y LUCIENTES, Francisco de Title: Spanish Entertainment Form: graphics , 1801-1850 , Spanish , other 1825_Lithograph,_300_x_410_mm_Biblioteca_Nacional,_Madrid_This_litograph_is_one_of_the_four_in_the_series_The_Bulls_of_Bordeaux._As_in_his_early_paintings,_and_unlike_in_his_Tauromaquia,_Goya_takes_a_step_back_from_the_events_in_the_ring._His_focus_now_falls_not_on_the_battle_to_the_death_that_had_earlier_fascinated_him_and_inspired_him_to_new_compositional_solutions,_but_on_the_bullfight_as_popular_entertainment._Perhaps_the_emigr?was_also_inspired_by_reminiscences_of_life_in_Spain._Author:_GOYA_Y_LUCIENTES,_Francisco_de_Title:_Spanish_Entertainment_Form:_graphics_,_1801-1850_,_Spanish_,_other |
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The Divided Arena 1825 Lithograph Pintura Identificación:: 62474 Vea nuestra galería en Suecia |
The Divided Arena 1825 Lithograph 300 x 425 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. At the end of his life, three years before his death, Goya once again returned to the subject of bullfighting, using the new technique of lithography to produce the series The Bulls of Bordeaux. Author: GOYA Y LUCIENTES, Francisco de Title: The Divided Arena Form: graphics , 1801-1850 , Spanish , other 300_x_425_mm_Biblioteca_Nacional,_Madrid_This_litograph_is_one_of_the_four_in_the_series_The_Bulls_of_Bordeaux._At_the_end_of_his_life,_three_years_before_his_death,_Goya_once_again_returned_to_the_subject_of_bullfighting,_using_the_new_technique_of_lithography_to_produce_the_series_The_Bulls_of_Bordeaux._Author:_GOYA_Y_LUCIENTES,_Francisco_de_Title:_The_Divided_Arena_Form:_graphics_,_1801-1850_,_Spanish_,_other |
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| Artista Previo Próximo Artista | ||||||||||
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| Francisco de goya y Lucientes | ||||||||||
| b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, | ||||||||||
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