artist-goya

[artist-goya]

Dreamer, 1827, Orest Kiprensky

Medium: oil,canvas

#romanticism #orestkiprensky #kiprensky

[artist-goya]

Are you … Well, as I was telling you. Eh! Be careful or..., 1799, Francisco José de Goya y Lucientes

Medium: etching,paper

https://www.wikiart.org/en/francisco-goya/are-you-well-as-i-was-telling-you-eh-be-careful-or-1799

#goya #romanticism #franciscogoya

[artist-goya]

The Theft of the Sampo, Akseli Gallen-Kallela, 1905, Finnish National Gallery

http://kokoelmat.fng.fi/app?si=A-1994-192

#europeana #artmuseum #finnishnationalgallery #finngallery #museumarchive

[artist-goya]

Even so he cannot make her out, 1799, Francisco José de Goya y Lucientes

Medium: aquatint,etching,paper

#romanticism #franciscogoya #goya

[artist-goya]

They are hot, 1798, Francisco José de Goya y Lucientes

Medium: etching,paper

#franciscogoya #romanticism #goya

[artist-goya]

Convent of San-Cosimato and Part of the Claudian Aqueduct near Vicovaro in the Roman Campagna, 1786, Joseph Wright

Medium: oil,canvas

#josephwrightofderby #wright #romanticism #josephwright

[artist-goya]

Bad night, 1799, Francisco José de Goya y Lucientes

Medium: etching,paper

#romanticism #goya #franciscogoya

[artist-goya]

Charity, Francisco José de Goya y Lucientes, 1810–1820 (published 1863), Minneapolis Institute of Art: Prints and Drawings

Plate 27 Size: 5 7/16 x 7 9/16 in. (13.81 x 19.21 cm) (image) 9 1/2 x 12 7/8 in. (24.13 x 32.7 cm) (sheet) Medium: Etching and lavis

https://collections.artsmia.org/art/57913/

#minneapolisinstituteofart #franciscojosédegoyaylucientes #artsmia #printsanddrawings

[artist-goya]

Three Men Carrying a Wounded Soldier, from the Images of Spain, Album F, Francisco José de Goya y Lucientes, 1812, Art Institute of Chicago: Prints and Drawings

Goya’s bold watercolor is very far from the emphasis on pure line of the restrained Classicism that characterizes many of the works from this period. Goya applied his washes with an abandon that verged on the abstract. Indeed, it can be difficult to separate the knot of individual figures, three of them carrying a fourth, in a scene that recalls images of the Deposition of Christ. Probably produced during the Spanish War of Independence against Napoleonic France (1808–14), Goya’s drawing unflinchingly treats the senseless violence and social chaos that defined the period. Clarence Buckingham Collection Size: 202 x 141 mm Medium: Brush with brown ink and brown and gray wash over traces of black chalk, on cream laid paper

https://www.artic.edu/artworks/12030/

#artinstituteofchicago #franciscojosédegoyaylucientes #museumarchive

[artist-goya]

Blackman Street, London, 1885, John Atkinson Grimshaw

#atkinsongrimshaw #grimshaw #romanticism #englishart #johngrimshaw

[artist-goya]

Can't anyone untie us?, 1799, Francisco José de Goya y Lucientes

Medium: etching,paper

#goya #franciscogoya #romanticism

[artist-goya]

Old Beggar with a Maja, 1799, Francisco José de Goya y Lucientes

https://www.wikiart.org/en/francisco-goya/old-beggar-with-a-maja

#franciscogoya #romanticism #goya

[artist-goya]

Mount Aetna from Taormina, 1843, Thomas Cole

Medium: oil,canvas

#cole #thomascole #romanticism

[artist-goya]

Allá vá eso, Francisco José de Goya y Lucientes, 1797-1798, Minneapolis Institute of Art: Prints and Drawings

binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers Francisco Goya’s series Los Caprichos contains layers of meaning that even today challenge the modern viewer. Mia’s copy is a rare presentation proof containing early printings of all eighty images. In the first half, Goya explored themes of superstition, sensuality, greed, and violence with scenes set in Spanish brothels, salons, and prisons. The second half is given over to fantastic images from the artist’s dreams and nightmares. Even though Goya tried to disguise his attacks on Spanish society, he withdrew the set from sale because he had been reported to the Inquisition, a tribunal that ruled with lethal authority. Size: 8 1/2 x 6 in. (21.59 x 15.24 cm) (plate) Medium: Etching and aquatint

https://collections.artsmia.org/art/80376/

#franciscojosédegoyaylucientes #printsanddrawings #minneapolisinstituteofart #artsmia

[artist-goya]

Nikolay Ivanovich Gnedich, Orest Kiprensky

#romanticism #orestkiprensky #kiprensky

[artist-goya]

Duendecitos, Francisco José de Goya y Lucientes, 1797-1798, Minneapolis Institute of Art: Prints and Drawings

binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers Francisco Goya’s series Los Caprichos contains layers of meaning that even today challenge the modern viewer. Mia’s copy is a rare presentation proof containing early printings of all eighty images. In the first half, Goya explored themes of superstition, sensuality, greed, and violence with scenes set in Spanish brothels, salons, and prisons. The second half is given over to fantastic images from the artist’s dreams and nightmares. Even though Goya tried to disguise his attacks on Spanish society, he withdrew the set from sale because he had been reported to the Inquisition, a tribunal that ruled with lethal authority. Size: 8 1/2 x 6 in. (21.59 x 15.24 cm) (plate) Medium: Etching and aquatint

https://collections.artsmia.org/art/80359/

#printsanddrawings #minneapolisinstituteofart #franciscojosédegoyaylucientes #artsmia

[artist-goya]

Susannah Hurt with Her Daughter Mary Anne, 1790, Joseph Wright

Medium: oil,canvas

https://www.wikiart.org/en/joseph-wright/susannah-hurt-with-her-daughter-mary-anne

#josephwrightofderby #rococo #josephwright #wright #romanticism