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Francisco Goya

@franciscogoya.bsky.social

720 followers 3 following 2.2K posts

Francisco José de Goya y Lucientes was a 19th century Spanish painter and printmaker. 1746-1828 #artbots by @andreitr.bsky.social and @botfrens.bsky.social linktr.ee/goya_artbot

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Francisco Goya @franciscogoya.bsky.social · 11h

As Far back as his Grandfather https://www.wikiart.org/en/francisco-goya/as-far-back-as-his-grandfather-1799

As Far back as his Grandfather

Francisco Goya @franciscogoya.bsky.social · 15h

Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun https://www.artic.edu/artworks/16354/

Mr. and Mrs. Martin A. Ryerson Collection

Francisco Goya @franciscogoya.bsky.social · 16h

Francisco Bayeu https://www.wikiart.org/en/francisco-goya/francisco-bayeu-1795

Francisco Bayeu

Francisco Goya @franciscogoya.bsky.social · 19h

General Jose de Palafox https://www.wikiart.org/en/francisco-goya/general-jose-de-palafox-1814

General Jose de Palafox

Francisco Goya @franciscogoya.bsky.social · 22h

Él Que No te Ama, Burlandote te Difama https://collections.artsmia.org/art/58288/

Plate 17

Francisco Goya @franciscogoya.bsky.social · 1d

The Beds of Death https://collections.artsmia.org/art/58085/

Plate 62

Francisco Goya @franciscogoya.bsky.social · 1d

Portrait of Ferdinand VII https://www.wikiart.org/en/francisco-goya/portrait-of-ferdinand-vii-1814

Portrait of Ferdinand VII

Francisco Goya @franciscogoya.bsky.social · 1d

Juan Bautista de Muguiro https://www.wikiart.org/en/francisco-goya/juan-bautista-de-muguiro-1827

Juan Bautista de Muguiro

Francisco Goya @franciscogoya.bsky.social · 1d

Sleep https://www.wikiart.org/en/francisco-goya/sleep

Sleep

Francisco Goya @franciscogoya.bsky.social · 1d

The Divided Arena https://www.wikiart.org/en/francisco-goya/the-divided-arena-1825

The Divided Arena

Francisco Goya @franciscogoya.bsky.social · 2d

Infante Don Fernando https://collections.artsmia.org/art/57701/

After Velasquez. Probably included with bound set of Caprichos in MIA collection.

Francisco Goya @franciscogoya.bsky.social · 2d

Poor little girls! https://www.wikiart.org/en/francisco-goya/poor-little-girls-1799

Poor little girls!

Francisco Goya @franciscogoya.bsky.social · 2d

L' Homme Garottè https://collections.artsmia.org/art/57904/

From "L' Homme se Balancant."; accessioned 1916

Francisco Goya @franciscogoya.bsky.social · 2d

Sharing the Old Woman https://www.wikiart.org/en/francisco-goya/sharing-the-old-woman

Sharing the Old Woman

Francisco Goya @franciscogoya.bsky.social · 2d

Francisca Sabasa y Garcia https://www.wikiart.org/en/francisco-goya/francisca-sabasa-y-garcia-1808

Francisca Sabasa y Garcia

Francisco Goya @franciscogoya.bsky.social · 3d

Sad forebodings of what is to come https://www.wikiart.org/en/francisco-goya/sad-forebodings-of-what-is-to-come-1810

Sad forebodings of what is to come

Francisco Goya @franciscogoya.bsky.social · 3d

Que pico de Oro! https://collections.artsmia.org/art/80363/

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.

Francisco Goya @franciscogoya.bsky.social · 3d

Maja and Celestina on a Balcony https://www.wikiart.org/en/francisco-goya/maja-and-celestina-on-a-balcony-1812

Maja and Celestina on a Balcony

Francisco Goya @franciscogoya.bsky.social · 3d

Majas on a Balcony https://www.wikiart.org/en/francisco-goya/majas-on-a-balcony

Majas on a Balcony

Francisco Goya @franciscogoya.bsky.social · 3d

Charles IV, King of Spain https://www.harvardartmuseums.org/collections/object/356355

Harvard Art Museums/Fogg Museum, Loan from Nicholas Boyle, Edward Friedman, Gary Friedman, Theodore Mirvis, Matthew Rutenburg and Eric Seiler

Francisco Goya @franciscogoya.bsky.social · 4d

She leaves him penniless https://www.wikiart.org/en/francisco-goya/she-leaves-him-penniless-1799

She leaves him penniless

Francisco Goya @franciscogoya.bsky.social · 4d

Mort de Pepe Illo (2nd compostion), plate E from Tauromaquia https://collections.artsmia.org/art/58293/

Mort de Pepe Illo (2nd compostion), plate E from Tauromaquia

Francisco Goya @franciscogoya.bsky.social · 4d

Volaverunt https://collections.artsmia.org/art/80371/

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.

Francisco Goya @franciscogoya.bsky.social · 4d

Correction https://www.wikiart.org/en/francisco-goya/correction-1799

Correction

Francisco Goya @franciscogoya.bsky.social · 4d

Ensayos https://collections.artsmia.org/art/80370/

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.