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Black paintings by Goya Collection (#7)

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Background imageBlack paintings by Goya Collection: Self portrait, 1799. Artist: Francisco Goya

Self portrait, 1799. Artist: Francisco Goya
Self portrait, 1799. Plate 1 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Background imageBlack paintings by Goya Collection: They say yes and give their hand to the first comer, 1799. Artist: Francisco Goya

They say yes and give their hand to the first comer, 1799. Artist: Francisco Goya
They say yes and give their hand to the first comer, 1799. Plate 2 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Background imageBlack paintings by Goya Collection: They have flown, 1799. Artist: Francisco Goya

They have flown, 1799. Artist: Francisco Goya
They have flown, 1799. Plate 61 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Background imageBlack paintings by Goya Collection: Trials, 1799. Artist: Francisco Goya

Trials, 1799. Artist: Francisco Goya
Trials, 1799. Plate 60 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political liberalism

Background imageBlack paintings by Goya Collection: And still they don t go!, 1799. Artist: Francisco Goya

And still they don t go!, 1799. Artist: Francisco Goya
And still they don t go!, 1799. Plate 59 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Background imageBlack paintings by Goya Collection: Fragata perro, 1799. Artist: Francisco Goya

Fragata perro, 1799. Artist: Francisco Goya
Fragata perro, 1799. Taken from Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Background imageBlack paintings by Goya Collection: The filiation, 1799. Artist: Francisco Goya

The filiation, 1799. Artist: Francisco Goya
The filiation, 1799. Plate 75 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Background imageBlack paintings by Goya Collection: Saturn Devouring one of his Children, 1821-1823. Artist: Francisco Goya

Saturn Devouring one of his Children, 1821-1823. Artist: Francisco Goya
Saturn Devouring one of his Children, 1821-1823. Found in the collection of the Prado, Madrid, Spain. A Greco-Roman mythological scene of the god Saturn consuming a child in reference to Spains

Background imageBlack paintings by Goya Collection: To rise and to fall, 1799. Artist: Francisco Goya

To rise and to fall, 1799. Artist: Francisco Goya
To rise and to fall, 1799. Plate 56 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Background imageBlack paintings by Goya Collection: The men in sacks, 1819-1823. Artist: Francisco Goya

The men in sacks, 1819-1823. Artist: Francisco Goya
The men in sacks, 1819-1823. Plate 8 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Matrimonial nightmare, 1819-1823. Artist: Francisco Goya

Matrimonial nightmare, 1819-1823. Artist: Francisco Goya
Matrimonial nightmare, 1819-1823. Plate 7 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams)

Background imageBlack paintings by Goya Collection: General Riddle, 1819-1823. Artist: Francisco Goya

General Riddle, 1819-1823. Artist: Francisco Goya
General Riddle, 1819-1823. Plate 9 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Happy fantasy, 1819-1823. Artist: Francisco Goya

Happy fantasy, 1819-1823. Artist: Francisco Goya
Happy fantasy, 1819-1823. Plate 12 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Riddle of the poor, 1819-1823. Artist: Francisco Goya

Riddle of the poor, 1819-1823. Artist: Francisco Goya
Riddle of the poor, 1819-1823. Plate 11 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams)

Background imageBlack paintings by Goya Collection: Carnival fantasy, 1819-1823. Artist: Francisco Goya

Carnival fantasy, 1819-1823. Artist: Francisco Goya
Carnival fantasy, 1819-1823. Plate 14 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: A way of flying, 1819-1823. Artist: Francisco Goya

A way of flying, 1819-1823. Artist: Francisco Goya
A way of flying, 1819-1823. Plate 13 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: The exhortations, 1819-1823. Artist: Francisco Goya

The exhortations, 1819-1823. Artist: Francisco Goya
The exhortations, 1819-1823. Plate 16 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Even thus he cannot make her out, 1799. Artist: Francisco Goya

Even thus he cannot make her out, 1799. Artist: Francisco Goya
Even thus he cannot make her out, 1799. Plate 7 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Background imageBlack paintings by Goya Collection: Nobody knows himself, 1799. Artist: Francisco Goya

Nobody knows himself, 1799. Artist: Francisco Goya
Nobody knows himself, 1799. Plate 6 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Background imageBlack paintings by Goya Collection: Queen Maria Luisa Teresa of Parma, Prime Minister of Spain, 1799. Artist: Francisco Goya

Queen Maria Luisa Teresa of Parma, Prime Minister of Spain, 1799. Artist: Francisco Goya
Queen Maria Luisa Teresa of Parma, Prime Minister of Spain, 1799. Plate 5 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Background imageBlack paintings by Goya Collection: Nannys boy, 1799. Artist: Francisco Goya

Nannys boy, 1799. Artist: Francisco Goya
Nannys boy, 1799. Plate 4 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political liberalism

Background imageBlack paintings by Goya Collection: Here comes the bogeyman, 1799. Artist: Francisco Goya

Here comes the bogeyman, 1799. Artist: Francisco Goya
Here comes the bogeyman, 1799. Plate 3 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Background imageBlack paintings by Goya Collection: The sleep of reason produces monsters, 1799. Artist: Francisco Goya

The sleep of reason produces monsters, 1799. Artist: Francisco Goya
The sleep of reason produces monsters, 1799. From Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain

Background imageBlack paintings by Goya Collection: The spin finely, 1799. Artist: Francisco Goya

The spin finely, 1799. Artist: Francisco Goya
The spin finely, 1799. Plate 44 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Background imageBlack paintings by Goya Collection: Correction, 1799. Artist: Francisco Goya

Correction, 1799. Artist: Francisco Goya
Correction, 1799. Plate 46 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Background imageBlack paintings by Goya Collection: There is plenty to suck, 1799. Artist: Francisco Goya

There is plenty to suck, 1799. Artist: Francisco Goya
There is plenty to suck, 1799. Plate 45 of Los caprichos. Los Caprichos were published in 1799 at a time of social repression

Background imageBlack paintings by Goya Collection: The Shepherd, c1760-1820. Artist: Francisco Goya

The Shepherd, c1760-1820. Artist: Francisco Goya
The Shepherd, c1760-1820. Private collection

Background imageBlack paintings by Goya Collection: Loyalty, 1819-1823. Artist: Francisco Goya

Loyalty, 1819-1823. Artist: Francisco Goya
Loyalty, 1819-1823. Plate 17 of Proverbs, published in 1864.The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Riddle of Fury, 1819-1823. Artist: Francisco Goya

Riddle of Fury, 1819-1823. Artist: Francisco Goya
Riddle of Fury, 1819-1823. Plate 6 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Clear Fantasy, 1819-1823. Artist: Francisco Goya

Clear Fantasy, 1819-1823. Artist: Francisco Goya
Clear Fantasy, 1819-1823. Plate 15 of Proverbs, published in 1864.The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Simpleton, 1819-1823. Artist: Francisco Goya

Simpleton, 1819-1823. Artist: Francisco Goya
Simpleton, 1819-1823. Plate 4 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Winged Nonsense, 1819-1823. Artist: Francisco Goya

Winged Nonsense, 1819-1823. Artist: Francisco Goya
Winged Nonsense, 1819-1823. Plate 5 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Riddle of Fear, 1819-1823. Artist: Francisco Goya

Riddle of Fear, 1819-1823. Artist: Francisco Goya
Riddle of Fear, 1819-1823. Plate 2 of Proverbs, published in 1864. The series also known as disparates (absurdities) or suenos (dreams) is seen as symbolic of the absurdity of the human condition

Background imageBlack paintings by Goya Collection: Female Riddle, 1819-1823. Artist: Francisco Goya

Female Riddle, 1819-1823. Artist: Francisco Goya
Female Riddle, 1819-1823. Plate 1 of Proverbs, published in 1864 by the Spanish Royal Academy of Fine Arts in Madrid. The series is also known as disparates, meaning follies

Background imageBlack paintings by Goya Collection: Until death, 1799. Artist: Francisco Goya

Until death, 1799. Artist: Francisco Goya
Until death, 1799. Plate 55 of Los Caprichos. Los Caprichos were published in 1799 at a time of social repression and economic crisis in Spain The series is evidence of the artists political

Background imageBlack paintings by Goya Collection: Title page of Los Proverbios or Proverbs, 1819-1823. Artist: Francisco Goya

Title page of Los Proverbios or Proverbs, 1819-1823. Artist: Francisco Goya
Title page of Los Proverbios or Proverbs, 1819-1823. Published by the Spanish Royal Academy of Fine Arts in Madrid, 1864. This print series is also known as disparates, meaning follies



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