The Third of May 1808

437:, the other a disorganized group of captives held at gunpoint. Executioners and victims face each other abruptly across a narrow space; according to Kenneth Clark, "by a stroke of genius has contrasted the fierce repetition of the soldiers' attitudes and the steely line of their rifles, with the crumbling irregularity of their target." A square lantern situated on the ground between the two groups throws a dramatic light on the scene. The brightest illumination falls on the huddled victims to the left, whose numbers include a monk or friar in prayer. To the immediate right and at the center of the canvas, other condemned figures stand next in line to be shot. The central figure is the brilliantly lit man kneeling amid the bloodied corpses of those already executed, his arms flung wide in either appeal or defiance. His yellow and white clothing repeats the colors of the lantern. His plain white shirt and sun-burnt face show he is a simple laborer. 31: 486: 558: 296: 608: 874: 351: 777: 399:, the term for the supporters—collaborators in the view of many—of Joseph Bonaparte. Goya's 1798 portrait of the French ambassador-turned-commandant Ferdinand Guillemardet betrays a personal admiration. Although he maintained his position as court painter, for which an oath of loyalty to Joseph was necessary, Goya had by nature an instinctive dislike of authority. He witnessed the subjugation of his countrymen by the French troops. During these years he painted little, although the experiences of the occupation provided inspiration for drawings that would form the basis for his prints 259: 6095: 938: 720: 993: 6121: 671: 971:, painted in several versions between 1867 and 1869. In recording a current event to which neither he nor the emerging art of photography was witness, Manet was inspired by Goya's precedent and may have seen the work at the Prado in 1865 before beginning his own paintings, which were too sensitive to be exhibited in France in Manet's lifetime. He undoubtedly saw an 1867 print published by an acquaintance. Art critic 6133: 768:

pleasing, and the colors are restricted to earth tones and black, punctuated by bright flashes of white and the red blood of the victims. The quality of the pigment itself foreshadows Goya's later works: a granular solution producing a matte, sandy finish. Few would admire the work for painterly flourishes, such is its horrific force and its lack of theatricality.

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body have been disfigured to a degree that renders resurrection impossible. The victim is portrayed bereft of all aesthetic or spiritual grace. For the rest of the picture the viewer's eye level is mostly along the central horizontal axis; only here is the perspectival point of view changed, so that the viewer looks down on the mutilated body.

554:) is clearly related compositionally and thematically; the female central figure has her arms outstretched, but pointing down, while another figure has his hands clasped in prayer, and several others shield or hide their faces. This time the soldiers are not visible even from behind; only the bayonets of their guns are seen. 755:

disfigured corpse; behind and around him are others who will soon share the same fate. Here, for the first time, according to biographer Fred Licht, nobility in individual martyrdom is replaced by futility and irrelevance, the victimization of mass murder, and anonymity as a hallmark of the modern condition.

632:, and Goya's unheroic description was unusual for the time. According to some early critical opinion the painting was flawed technically: the perspective is flat, or the victims and executioners are standing too close together to be realistic. Although these observations may be strictly correct, the writer 540:, provides many indications of the order in which both the preliminary drawings and the prints themselves were composed. The groups identified as the earliest clearly seem to predate the commission for the two paintings, and include two prints with obviously related compositions (illustrated), as well as 891:

were popular imagery, prints, and broadsides. Depictions of firing squads were common in Spanish political imagery during the Napoleonic War, and Goya's appropriations suggest that he envisaged paintings of heroic scale that would appeal to the general public. Miguel Gamborino's 1813 devotional print

763:

offers no such cathartic message. Instead, there is a continuous procession of the condemned in a mechanical formalization of murder. The inevitable outcome is seen in the corpse of a man, splayed on the ground in the lower left portion of the work. There is no room left for the sublime; his head and

805:

According to some accounts, the painting lay in storage for thirty to forty years before being shown to the public. Its mention in an 1834 Prado inventory shows that the painting remained in the possession of the government or monarchy; much of the royal collection had been transferred to the museum

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Despite the work's commemorative value, no details about its first exhibition are known, and it is not mentioned in any surviving contemporaneous accounts. This lack of commentary may be due to Fernando VII's preference for neoclassical art, and to the fact that popular revolts of any kind were

316:

conquered nation. Reduced to despair, they would be prepared to unleash the most terrible and courageous rebellion, and the most vicious excesses." On May 2, 1808, provoked by news of the planned removal to France of the last members of the Spanish royal family, the people of Madrid rebelled in the

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and its intensity: "With Goya we do not think of the studio or even of the artist at work. We think only of the event. Does this imply that The Third of May is a kind of superior journalism, the record of an incident in which depth of focus is sacrificed to an immediate effect? I am ashamed to say

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in 1867, José Caveda wrote of four paintings by Goya of the second of May, and Cristóbal Ferriz—an artist and a collector of Goya—mentioned two other paintings on the theme: a revolt at the royal palace and a defense of artillery barracks. Contemporary prints stand as precedents for such a series.

320:. A proclamation issued that day to his troops by Marshal Murat read: "The population of Madrid, led astray, has given itself to revolt and murder. French blood has flowed. It demands vengeance. All those arrested in the uprising, arms in hand, will be shot." Goya commemorated the uprising in his 987:

execution was an indiscriminate killing of civilians by French soldiers in reprisal for a guerrilla attack the previous day. Goya's painting of the massacre, which shows terrified civilians facing a firing squad, was intended to arouse anger and hatred on the part of Spanish viewers. Goya's is a

457:

at the back of the central group. Without distracting from the intensity of the foreground drama, a townscape with a steeple looms in the nocturnal distance, probably including the barracks used by the French. In the background between the hillside and the shakos is a crowd with torches: perhaps

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are transmuted into the rifles of the firing squad; the upraised arms of the Horatii's father become the victim's gesture as he faces his executioners. While David painted his figures' expressions with a neoclassical luster, Goya's reply is fashioned from brutal realism. Goya may also have been

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Finally, there is no attempt by the artist to soften the subject's brutality through technical skill. Method and subject are indivisible. Goya's procedure is determined less by the mandates of traditional virtuosity than by his intrinsically morbid theme. The brushwork could not be described as

315:

Although the Spanish people had accepted foreign monarchs in the past, they deeply resented the new French ruler. A French agent in Madrid wrote that "Spain is different. The Spaniards have a noble and generous character, but they have a tendency to ferocity and cannot bear to be treated as a

754:

The victim is as anonymous as his killers. His entreaty is addressed not to God in the manner of traditional painting, but to an unheeding and impersonal firing squad. He is not granted the heroism of individuality, but is merely part of a continuum of victims. Beneath him lies a bloody and

412:

In February 1814, after the final expulsion of the French, Goya approached the provisional government with a request to "perpetuate by means of his brush the most notable and heroic actions of our glorious insurrection against the Tyrant of Europe". His proposal accepted, Goya began work on

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also depicts an execution, an early event in the so-called Peninsular War between France and Spain. Napoleon Bonaparte invaded Spain in 1808, capturing its royal family and replacing them with his brother, Joseph. The French were as unpopular in Spain as they later were in Mexico, and they

275:

Under the guise of reinforcing the Spanish armies, 23,000 French troops entered Spain unopposed in November 1807. Even when Napoleon's intentions became clear the following February, the occupying forces found little resistance apart from isolated actions in disconnected areas, including

1725:, October 4, 2003. Retrieved on April 18, 2008. But see also Gautier. Ford, p. 686, mentions only a couple of Goyas in the Prado, and is generally dismissive: "he delighted in dirty subjects from which others revolt. Those who admire him should visit his son Don Javier (No. 9, 1419:

It has been suggested that the disarray in which Goya depicted the victims was a decision of prudence: popular resistance to French forces could be memorialized, so long as there was no show of solidarity which would be threatening to the government of Fernando VII. Boime,

802:. A monument to the fallen in the uprising, also commissioned in 1814 by the provisional government, "was stopped by Ferdinand VII, in whose eyes the senators and heroes of the war of independence found small favour, on account of their reforming tendencies". 3434: 746:

the lantern manifests no such miracle. Rather, it affords light only so that the firing squad may complete its grim work, and provides a stark illumination so that the viewer may bear witness to wanton violence. The traditional role of light in art as a

167:

marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian

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references a number of earlier works of art, but its power comes from its bluntness rather than its adherence to traditional compositional formulas. Pictorial artifice gives way to the epic portrayal of unvarnished brutality. Even the contemporary

595:) is another of the early prints, from a slightly later group apparently produced at the height of the war when materials were unobtainable, so that Goya had to destroy the plate of an earlier landscape print to make this and another piece in the 1108: 255:, was using the invasion merely as a ploy to seize the Spanish parliament and throne. Ferdinand intended not only that Godoy be killed during the impending power struggle, but also that the lives of his own parents be sacrificed. 1497:

There were probably preliminary drawings for all of the prints. The album shows a preliminary numbering system, different from the one Goya finally settled on, which probably relates to the order of composition. For example

332:

illustrates the French reprisals: before dawn the next day hundreds of Spaniards were rounded up and shot, at a number of locations around Madrid. Civilian Spanish opposition persisted as a feature of the ensuing five-year

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on November 10, 1799, and crowned himself Emperor in 1804. Because Spain controlled access to the Mediterranean, the country was politically and strategically important to French interests. The reigning Spanish sovereign,

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are thought to have been intended as parts of a larger series. Written commentary and circumstantial evidence suggest that Goya painted four large canvases memorializing the rebellion of May 1808. In his memoirs of the

1504:

is no. 15 in the first sequence, and no. 44 in the final sequence. After the earlier no. 19 Goya ran out of good drawing paper from the Netherlands, and began to use whatever he could find. See Bareau,

950:(1868–1869), is one of five versions of his representation of the execution of the Austrian-born Emperor of Mexico, which took place on June 19, 1867. Manet borrowed heavily, thematically and technically, from Goya's 810:

mentioned seeing "a massacre" by Goya during a visit to the museum in 1845, and a visitor in 1858 noted it as well, though both accounts refer to the work as depicting the events of the second of May, perhaps because

236:, was internationally regarded as ineffectual. Even in his own court he was seen as a "half-wit king who renounces cares of state for the satisfaction of hunting", and a cuckold unable to control his energetic wife, 240:. Napoleon took advantage of the weak king by suggesting the two nations conquer and divide Portugal, with France and Spain each taking a third of the spoils, and the final third going to the Spanish Prime Minister 1078:

a success because Goya "is speaking in his native language, and he is therefore able to express what he wants to say with maximum force and clarity". Kenneth Clark remarked on the painting's radical departure from

758:

The way the painting shows the progress of time is also without precedent in Western art. The death of a blameless victim had typically been presented as a conclusive episode, imbued with the virtue of heroism.

694:, feature an artful technique and harmonious composition which anticipate the "crown of martyrdom" for the victim. The man with raised arms at the focal point of the composition has often been compared to a 448:

headgear form a relentless and immutable column. Most of the faces of the figures cannot be seen, but the face of the man to the right of the main victim, peeping fearfully towards the soldiers, acts as a

162:

The painting's content, presentation, and emotional force secure its status as a ground-breaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art,

1367:

Connell, pp. 153–157. At the time, Goya may have been living in a house at the corner of the Puerta del Sol; however this is disputed and perhaps originated from a suspect account from the novelist

2506: 292:

was to be made king. After Napoleon convinced Ferdinand to return Spanish rule to Charles IV, the latter was left with no choice but to abdicate, on March 19, 1808, in favor of Joseph Bonaparte.

742:. Traditionally a dramatic light source and the resultant chiaroscuro were used as metaphors for the presence of God. Illumination by torch or candlelight took on religious connotations; but in 5430: 1105: 4012: 2802: 5250: 896:

is thought to have served as a source for Goya's composition. Points of similarity include a victim in a posture of crucifixion, whose white garment sets him apart from his companions; a

690:, and the appeal to life juxtaposed with the inevitability of imminent execution. However, Goya's painting departs from this tradition. Works that depicted violence, such as those by 251:. Godoy was seduced, and accepted the French offer. He failed, however, to grasp Napoleon's true intentions, and was unaware that his new ally and co-sovereign, the former king's son 3795: 514:), c. 1810–1812. This is a very similar composition—though Goya was freer in expression in the prints than the paintings, in which he conformed more to traditional conventions. 4528: 2051: 2025: 1372:

who supposedly heard it from Isidoro, Goya's gardener. Isidoro, it is claimed, said he accompanied the artist on the night of the third as he sketched the corpses of the slain.

900:

monk with clenched hands who kneels to his left; and an executed corpse lying in the foreground. The geometry of the composition may be an ironic comment on the French painter

2430: 4265: 5360: 4807: 6173: 5443: 347:, who first landed in Portugal in August 1808. By the time of the painting's conception, the public imagination had made the rioters symbols of heroism and patriotism. 4667: 2422: 1807: 5703: 2491: 5790: 5237: 3525: 647:—who were also intrigued with subjects of injustice, war, and death—composed their paintings with greater attention to the conventions of beauty, as is evident in 417:. It is not known whether he had personally witnessed either the rebellion or the reprisals, despite many later attempts to place him at the events of either day. 536:) was not completed until 1820, although most of the prints were made in the period 1810–1814. The album of proofs given by Goya to a friend, however, now in the 5328: 822:

In 1867, Goya's biographer Charles Emile Yriarte considered the painting important enough to warrant its own special exhibition, but it was not until 1872 that

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of the Roman soldiers who arrested Christ in the garden. Not only is he posed as if in crucifixion, he wears yellow and white: the heraldic colors of the

5887: 5611: 877: 4480: 1917: 5073: 4828: 4782: 2871: 4995: 4462: 2560: 1904:

Johnson, Lee.; "A New Source for Manet's 'Execution of Maximilian'". The Burlington Magazine, Volume 119, Ed. 893, August 1977. pp. 560–564.

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At first the painting met with mixed reactions from art critics and historians. Artists had previously tended to depict war in the high style of

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This is consistent with Murat's desire to choose as victims members of the lower classes and the clergy who organized them. Boime, p. 297.

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Guillemardet came to Spain as French ambassador, and was the first foreigner Goya painted. Later Guillemardet brought a copy of the artist's

471: 5623: 5373: 4250: 4163: 4061: 4237: 1035: 5526: 5279: 4474: 4304: 3029: 2567: 2009: 4631: 1772: 5617: 4643: 4456: 2048: 4576: 730:

is a traditional scene of martyrdom, with the saint beseeching God. Goya drew inspiration from the iconography of such violent scenes.

379:

Like other Spanish liberals, Goya was placed in a difficult position by the French invasion. He had supported the initial aims of the

5676: 5456: 4926: 4175: 3928: 3696: 3045: 3021: 2700: 4655: 6013: 5899: 5148: 4564: 4316: 4298: 3964: 3292: 2458: 344: 176:

is "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention".

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series. It shows a shako-wearing firing squad in the background, this time seen receding in a frontal rather than a rear view.

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On the right side stands the firing squad, engulfed in shadow and painted as a monolithic unit. Seen nearly from behind, their

4133: 5983: 5598: 5334: 4739: 3563: 3361: 3089: 2918: 2879: 925: 5551: 5184: 4769: 4516: 4151: 4055: 1799: 4637: 4486: 3013: 6163: 5911: 5815: 5809: 5645: 5309: 5102: 4950: 4661: 4187: 4181: 946: 4127: 151:), it was commissioned by the provisional government of Spain at Goya's own suggestion shortly after the ousting of the 5196: 4522: 4292: 4103: 3838: 2997: 2965: 2537: 781: 433:

is set in the early hours of the morning following the uprising and centers on two masses of men: one a rigidly poised

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argues that Goya was not striving for academic propriety but rather to strengthen the overall impact of the piece.

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wrote in 1957 that Goya lacked Rubens' ability to fill the canvas with an ordered composition; but he considered

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The disappearance of two paintings may indicate official displeasure with the depiction of popular insurrection.

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square in the center of Madrid, the site of several hours of fierce combat. Much the better known of the pair,

295: 5961: 5871: 5691: 5658: 5585: 5557: 5202: 5178: 4932: 4558: 4546: 4492: 4384: 4271: 4225: 4079: 3689: 3061: 1605: 1084:

that I once thought so; but the longer I look at this ...the more clearly I recognise that I was mistaken."

607: 5942: 5532: 4109: 3904: 3236: 2844: 2756: 2451: 1621:

attacks with a sword often had the lantern, which he drops to the ground when attacked. The scenes of the

6158: 5424: 5172: 5160: 5142: 4286: 3826: 3191: 2787: 1942: 1914: 1005:(1951) was painted as a protest against the United States intervention in Korea. Picasso directly quotes 873: 350: 343:. Irregular Spanish forces considerably aided the Spanish, Portuguese, and British armies jointly led by 5682: 6111: 6053: 5166: 5136: 4872: 4403: 4115: 3958: 3354: 3250: 2957: 663: 616: 152: 1983:, Vol. 122, No. 928, Special Issue Devoted to Twentieth Century Art, July 1980. p. 464. 708:-like marks on his right hand, while the lantern at the center of the canvas references a traditional 6060: 5772: 4989: 3982: 3555: 3505: 3053: 2894: 2852: 2772: 2521: 723: 434: 384: 6098: 5670: 5208: 5154: 4837: 4322: 4006: 3970: 3940: 3868: 3682: 3603: 3435:

Unfortunate events in the front seats of the ring of Madrid, and the death of the mayor of Torrejón

3313: 3229: 3077: 3005: 2989: 2732: 2272: 1776: 1746:, but this celebrated sequence of events in the nation's history is normally referred to simply as 1711: 854:

to both paintings done in 2008 in time for an exhibition marking the bicentennial of the uprising.

846:, apparently the only time they have left Madrid. Significant paint losses to the left side of the 3730: 6178: 6153: 5948: 5751: 5709: 5632: 5411: 5001: 4813: 4085: 3916: 3862: 3850: 3278: 2716: 2708: 2692: 2684: 2529: 2444: 1617:

In depictions since the 12th century, according to Schiller p. 56. Specifically the man who

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Prado, p. 141. "The third of May 1808 in Madrid; the shootings on the Prince Pio Hill". See

776: 648: 4901: 4619: 6183: 5858: 5058: 4963: 4570: 4438: 4424: 4212: 4193: 3976: 3886: 3637: 3183: 2910: 2902: 2740: 2553: 2163: 1707: 748: 263: 252: 140: 4341: 2006: 620:, 1830. A later example of revolutionary art, which retains the idealized and heroic style of 4625: 4534: 4169: 3832: 3478: 3137: 3129: 2259: 3642: 2139: 5796: 5563: 4795: 4757: 4751: 4673: 4097: 4067: 3808: 3571: 3391: 3373: 2654: 2106: 1964: 1925: 575: 526: 504: 317: 237: 220: 807: 8: 5936: 5893: 5715: 5569: 4360: 4328: 3167: 2764: 2303: 1623: 1027: 1022: 906: 901: 700: 233: 1316: 658: 611: 284:, believed that Spain would benefit from rulers more progressive and competent than the 6125: 5781: 5697: 5347: 4720: 4390: 4018: 3898: 3285: 2669: 2607: 2591: 2575: 2374: 1065: 653: 383:, and hoped for a similar development in Spain. Several of his friends, like the poets 202: 5739: 5472: 4745: 3632: 2949: 2926: 2615: 2403: 2395: 2385: 2381: 2359: 2343: 2327: 2319: 2284: 2263: 2245: 2231: 2213: 2199: 2185: 2171: 2154: 2117: 2093: 1946: 1871: 1386: 1369: 1320: 1271: 1239: 1172: 1125: 1052: 1031: 1001: 920: 843: 380: 196: 1979:

Keen, Kirsten Hoving. "Picasso's Communist Interlude: The Murals of War and Peace".

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Christ, and a similar pose is sometimes seen in depictions of Christ's nocturnal

304: 241: 228: 127: 77: 2278: 1106:

El 3 de mayo de 1808 en Madrid: los fusilamientos en la montaña del Príncipe Pío

4431: 4372: 3880: 3874: 3820: 3735: 3547: 3447: 3422: 3320: 3299: 2467: 2315: 537: 334: 325: 308: 271:. It depicts the uprising that precipitated the executions of the third of May. 215: 135: 123: 41: 147: 6147: 4859: 3988: 3844: 3402: 3343: 3175: 3106: 2407: 2102: 1071: 1017: 996: 861:

as one of the museum's fourteen most important paintings, to be displayed in

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were central in the development of the depiction of nocturnal scenes in art.

992: 6137: 4444: 3922: 3621: 3153: 2724: 2331: 2085: 972: 915: 862: 224: 186:'s peace sign and a number of later major paintings, including a series by 69:

268 cm × 347 cm (106 in × 137 in)

59: 2545: 578:" (Los desastres de la guerra), c. 1810–1812, prefigures elements of 4417: 4000: 3952: 3934: 3910: 3647: 3515: 3509: 3271: 3264: 3257: 3114: 2308: 1618: 814: 695: 687: 644: 544:, which is presumably a scene witnessed during Goya's trip to Saragossa. 394: 1800:"Online gallery zooms in on Prado's masterpieces (even the smutty bits)" 130:, Madrid. In the work, Goya sought to commemorate Spanish resistance to 1223:

Napoleon's Cursed War: Popular Resistance in the Spanish Peninsular War

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in what one critic considers a more bombastic and humorous composition.

838:

suffered damage in a road accident while being transported by truck to

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The Victorious Hannibal Seeing Italy from the Alps for the First Time

2803:

The Victorious Hannibal Seeing Italy from the Alps for the First Time

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The painting is structurally and thematically tied to traditions of

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encountered a fierce insurrection, which ultimately triumphed. The

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The lantern as a source of illumination in art was widely used by

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Execution of Torrijos and his Companions on the Beach at Málaga

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The Christ Child and the Infant John the Baptist with a Shell

2016:". National Gallery of Victoria. Retrieved on April 12, 2008. 1451: 826:

was listed in the Prado's published catalog, under the title

785:, 1800–1801. Although Goya had painted many portraits of the 445: 5361:

Madonna and Child with Saint Mary Magdalene and Saint Ursula

5251:

Archduke Leopold Wilhelm in his Painting Gallery in Brussels

4808:

Excursion in the Countryside of Infanta Isabel Clara Eugenia

1967:, edited by William Rubin, copyright MoMA 1980, p. 383. 1064:. The perpetrators in this painting were intended to be the 267:

was completed in 1814, two months before its companion work

2194:

Murray, Christopher John. "The Third of May 1808–1814", in

2134:

Online from Google Books, Part II containing Madrid chapter

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Murray, Christopher John. "The Third of May 1808–1814", in

923:; the French occupation of Madrid is the subject of Gros's 713: 561: 489: 324:, which depicts a cavalry charge against the rebels in the 3604:

The Ministry of Time – Episode 25: Time of the Enlightened

122:.) is a painting completed in 1814 by the Spanish painter 5704:

Virgin and Child Between Saints Anthony of Padua and Roch

4529:

Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis

2492:

Consecration of Aloysius Gonzaga as Patron Saint of Youth

1341:

That Goya had first-hand knowledge of events depicted in

678:—a wound such as Christ suffered when nailed to the cross 5791:

The Virgin and Child with Saint George and Saint Dorothy

5238:

Feast of Herod with the Beheading of St John the Baptist

1731:), who has many of his father's sketches and paintings." 819:

continues to be the Spanish name for the whole episode.

798:

not regarded as suitable subject matter by the restored

686:

in Christian art, as exemplified in the dramatic use of

4668:

Saint Peter Nolasco's Vision of Saint Peter the Apostle

5065:

The Infanta Isabel Clara Eugenia in the Mariemont Park

4820:

The Infanta Isabel Clara Eugenia in the Mariemont Park

988:

highly romantic picture of a deeply emotional episode.

793:

as "suitable subject matter" for the royal collection.

6109: 1773:"Goya works restored for Madrid uprising anniversary" 1060:—an even more direct reference to the composition of 5489:

Portrait of Marsilio Cassotti and His Bride Faustina

1531: 1529: 1191:. Philadelphia: McCarty and Davis, 1835. p. 65. 3526:

Museo Goya - Colección Ibercaja - Museo Camón Aznar

2358:. Ministerio de Educación y Cultura, Madrid, 1996. 926:

Capitulation of Madrid, The Fourth of December 1808

138:. Along with its companion piece of the same size, 6174:Paintings by Francisco Goya in the Museo del Prado 5888:Landscape with St Paula of Rome Embarking at Ostia 5431:Madonna and Child with the Infant John the Baptist 2373: 2307: 1345:is underscored by the title of one of his prints, 301:Manuel Godoy, Duke of Alcudia, Prince of the Peace 4481:Equestrian Portrait of the Count-Duke of Olivares 1526: 1050:in the same room. Also in the room was Picasso's 850:have been deliberately left unrepaired until the 6145: 4783:Triptych with Scenes from the Life of the Virgin 2872:The Duke and Duchess of Osuna and their Children 1270:. Taylor and Francis, 2004. pp. 1133–1134. 674:Detail of the victim's right hand which shows a 106:Los fusilamientos de la montaña del Príncipe Pío 4463:Equestrian Portrait of Prince Balthasar Charles 2561:Paintings for the alameda of the Dukes of Osuna 1996:. New York: Harry N. Abrams, 1955. p. 302. 1026:, which shows the aftermath of the Nazi German 910:. The outstretched arms of David's three Roman 134:'s armies during the occupation of 1808 in the 5521:Portrait of Camilla Gonzaga and Her Three Sons 4764:The Seven Deadly Sins and the Four Last Things 1797: 1667: 1665: 4429: 4415: 3690: 2880:Manuel Osorio Manrique de Zúñiga (or Red Boy) 2452: 2353: 2240:Stoichita, Victor I and Coderch, Anna Maria. 2182:Goya: The Origins of the Modern Temper in Art 2062:, June 10, 2006. Retrieved on April 11, 2008. 1747: 1741: 1726: 1499: 1308: 1034:. An exhibition in 2006 at the Prado and the 894:The Assassination of Five Monks from Valencia 882:The Assassination of Five Monks from Valencia 812: 586: 565: 545: 531: 509: 493: 458:onlookers, perhaps more soldiers or victims. 404: 392: 370: 354: 112: 104: 96: 5374:The Story of Nastagio Degli Onesti, part one 2507:The Holy Family with Saints Joachim and Anne 1189:History of the Wars of the French Revolution 602: 450: 5918:Landscape with the Temptation of St Anthony 5527:Portrait of Pier Maria Rossi di San Secondo 4475:Equestrian Portrait of Margarita of Austria 4305:The Immaculate Conception of Los Venerables 2568:Saint Bernard of Clairvaux Curing a Cripple 2196:Encyclopedia of the Romantic Era, 1760–1850 1662: 1557: 1555: 1315:back to France, where they were admired by 1268:Encyclopedia of the Romantic Era, 1760–1850 6088:On display at the Spanish Embassy in Paris 5329:Portrait of Infanta Isabella Clara Eugenia 4644:Hercules Separates Mounts Calpe and Abylla 4457:Equestrian Portrait of Elisabeth of France 3697: 3683: 2459: 2445: 2224:Enduring Creation: Art, Pain and Fortitude 1238:. University of Pennsylvania Press, 2003. 280:. Napoleon's principal commander, Marshal 29: 4238:The Recovery of Bahía de Todos los Santos 3929:Portrait of the Marchioness of Santa Cruz 3022:Portrait of the Marchioness of Santa Cruz 2092:. The University of Chicago Press, 1990. 1826: 1824: 6085:On display at Museo de América in Madrid 5149:Equestrian Portrait of the Duke of Lerma 4632:The Defence of Cádiz Against the English 4565:Infanta Margarita Teresa in a Pink Dress 4299:The Immaculate Conception of El Escorial 3965:Pilgrimage to the Fountain of San Isidro 3293:Pilgrimage to the Fountain of San Isidro 1928:, New York. Retrieved on April 11, 2008. 1887: 1885: 1883: 1552: 1437: 1435: 991: 936: 872: 775: 718: 669: 606: 556: 484: 349: 294: 257: 6082:On display at El Greco Museum in Toledo 5906:Landscape with the Burial of St Serapia 5406:Mural Paintings from the Herrera Chapel 5090:Landscape with Charon Crossing the Styx 4038:The Nobleman with his Hand on his Chest 2149:Heras, Margarita Moreno de las, et al. 2090:Art in an Age of Bonapartism, 1800–1815 1975: 1973: 1655: 1653: 1643: 1641: 1639: 1637: 1573: 1571: 1569: 1567: 1545: 1543: 1541: 1475: 1473: 1471: 1469: 1467: 1465: 1463: 1294: 1292: 1253: 1251: 1171:. Köln: Taschen, 2007. pp. 28–29. 1154: 1152: 1099: 1097: 624:that Goya had dramatically broken with. 478: 307:was Prime Minister of Spain during the 6146: 5997:Time Defeated by Love, Beauty and Hope 5677:Alfonso d'Avalos Addressing his Troops 4939:Diana and a Nymph Surprised by a Satyr 4921:Self-portrait with Sir Endymion Porter 4511:View of the Garden of the Villa Medici 2701:Still Life of a Lamb's Head and Flanks 2368: 2342:. Underground Media Publishing, 2015. 2302: 2049:Picasso Comes Home to Spain's Pantheon 1821: 1770: 1395: 1260: 1208: 1206: 1103:The Museo del Prado entitles the work 865:at a resolution of 14,000 megapixels. 751:for the spiritual has been subverted. 704:of Gethsemane. Goya's figure displays 6034: 5984:Marriage Contract and Country Dancing 5335:Portrait of Giovanni Battista Caselli 3757: 3716: 3678: 3564:Goya or the Hard Way to Enlightenment 3362:The Sleep of Reason Produces Monsters 2919:Portrait of the Marquise de la Solana 2440: 2283:. British Museum Publications, 1981. 2256:Goya in the Twilight of Enlightenment 2210:Iconography of Christian Art, Vol. II 2153:. Museum of Fine Arts, Boston, 1989. 2027:The Spanish Wars of Goya and Picasso, 1915:Manet and the Execution of Maximilian 1880: 1870:. Westview Press, 1979. p. 376. 1810:from the original on February 2, 2017 1432: 1381:Hagen, Rose-Marie and Hagen, Rainer. 1167:Hagen, Rose-Marie and Hagen, Rainer. 5552:Christ Falling on the Way to Calvary 4517:Prince Balthasar Charles as a Hunter 4025:Witches' Sabbath (The Great He-Goat) 3244:Witches' Sabbath (The Great He-Goat) 2151:Goya and the Spirit of Enlightenment 1992:Boeck, Wilhelm and Sabartés, Jaime. 1970: 1939:Édouard Manet: Rebel in a frock coat 1650: 1634: 1564: 1538: 1460: 1289: 1248: 1149: 1094: 5912:Landscape with the Finding of Moses 5900:Landscape with St María de Cervelló 5444:The Birth of Saint John the Baptist 5103:Judith at the Banquet of Holofernes 4662:Saint Luke Painting the Crucifixion 4134:Portrait of Rodrigo Vázquez de Arce 3704: 2170:. New York: Alfred A. Knopf, 2004. 1891:Danto, Arthur C. "Surface Appeal". 1798:Giles Tremlett (January 14, 2009), 1236:Modern Spain: A Documentary History 1203: 1048:Execution of the Emperor Maximilian 13: 5612:Christ Washing the Disciples' Feet 4577:Portrait of Juan Martínez Montañés 4523:Portrait of the Infante Don Carlos 4293:The Holy Family with a Little Bird 3839:Charles IV of Spain and His Family 3046:Portrait of the Duke of Wellington 2998:Charles IV of Spain and His Family 2966:Portrait of Ferdinand Guillemardet 2538:The Family of the Infante Don Luis 2466: 2295: 2146:. Ediciones Poligrafa, S.A., 1971. 2129:A Handbook for Travellers in Spain 1851: 975:compares Goya's work and Manet's: 782:Charles IV of Spain and His Family 114:Los fusilamientos del tres de mayo 16:1814 painting by Francisco de Goya 14: 6195: 5971:Portrait of Ferdinand VI as a Boy 5924:Landscape with Tobias and Raphael 5028:Portrait of José Nicolás de Azara 4680:The Vision of Saint Peter Nolasco 4650:Hercules Fighting the Nemean Lion 4469:Equestrian Portrait of Philip III 3014:Portrait of Doña Isabel de Porcel 2974:Charles IV in his Hunting Clothes 2416: 1771:Larraz, Teresa (April 15, 2008). 1604:Licht, p. 121; including an 1450:Now the site of the transplanted 98:El tres de mayo de 1808 en Madrid 6131: 6119: 6094: 6093: 5734:Portrait of Isabella of Portugal 5722:Portrait of Charles V with a Dog 5665:Equestrian Portrait of Charles V 5053:Flemish Market and Washing Place 5041:Landscape with Sea and Mountains 4451:Equestrian Portrait of Philip IV 4128:Portrait of Jerónimo de Cevallos 4122:Portrait of an Unknown Gentleman 3893:The Duchess of Alba and la Beata 2982:Portrait of Maria Luisa of Parma 2600:The Duchess of Alba and la Beata 2281:Collection in the British Museum 2244:. London: Reaktion Books, 1999. 2212:. Lund Humphries, London, 1972. 2116:. New York: Counterpoint, 2004. 1743:El levantamiento del dos de mayo 1068:or their United Nations allies. 5728:Portrait of Federico II Gonzaga 5683:Danaë Receiving the Golden Rain 5323:Portrait of Elisabeth of Valois 5225:The Incredulity of Saint Thomas 4595:Portrait of Philip IV in Armour 4589:Portrait of Pablo de Valladolid 4050:Doña María de Aragón Altarpiece 3038:Portrait of Doña Antonia Zárate 3030:Portrait of Doña Antonia Zárate 2935:Portrait of Charles IV of Spain 2078: 2065: 2041: 2019: 1999: 1986: 1955: 1931: 1907: 1898: 1860: 1842: 1833: 1791: 1764: 1755: 1734: 1701: 1692: 1683: 1674: 1611: 1598: 1589: 1580: 1517: 1508: 1491: 1482: 1444: 1423: 1413: 1404: 1375: 1361: 1352: 1335: 1326: 1301: 1280: 1228: 1215: 968:Execution of Emperor Maximilian 947:Execution of Emperor Maximilian 420: 91:The Third of May 1808 in Madrid 6035: 4971:Francken the Younger 4802:The Wine of Saint Martin's Day 4734:The Garden of Earthly Delights 4607:Portrait of Sebastián de Morra 4601:Portrait of Mariana of Austria 4553:The Jester Don John of Austria 4260:Aranjuez Immaculate Conception 4140:Saint Andrew and Saint Francis 4092:Julián Romero and Saint Julian 2228:University of California Press 1385:. Taschen, 2003. p. 363. 1194: 1181: 1161: 1140: 1131: 1118: 828:Scene of the Third of May 1808 425: 1: 5767:Saint Margaret and the Dragon 5659:The Bacchanal of the Andrians 5586:Holy Family under an Oak Tree 4889:Rest on the Flight into Egypt 4583:The Nun Jerónima de la Fuente 4559:Portrait of Francisco Lezcano 4547:The Jester Don Diego de Acedo 4493:Apollo in the Forge of Vulcan 4385:The Martyrdom of Saint Philip 4311:The Martyrdom of Saint Andrew 3758: 3717: 3463: 3407: 3216: 3119: 3062:Self-Portrait with Dr Arrieta 2939: 2884: 2815: 2792: 2777: 2674: 2659: 2636: 2511: 2496: 1087: 1056:, painted in 1951 during the 771: 375:, plate 44, c. 1810–1812 209: 5943:Landscape with Three Figures 4770:The Temptation of St Anthony 4281:The Conversion of Saint Paul 4110:Portrait of a Young Nobleman 2845:Adoration of the Name of God 2757:The Junta of the Philippines 2198:, Taylor and Francis, 2004. 1830:Tomlinson, pp. 143–146. 1689:Tomlinson, pp. 137–139. 1016:is cited as an influence on 919:responding to a painting by 887:The most likely sources for 857:In 2009, the Prado selected 389:Leandro Fernández de Moratín 155:and the restoration of King 7: 5185:Saint George and the Dragon 4656:Saint Elizabeth of Portugal 3070:Portrait of Don Ramón Satué 2788:A Procession of Flagellants 2376:Goya: The Third of May 1808 2007:An Introduction to Guernica 1943:University of Chicago Press 1680:Gudiol (1971), p. 171. 253:Ferdinand VII of Spain 10: 6200: 6164:French war crimes in Spain 6054:The Apotheosis of Claudius 5618:Joseph and Potiphar's Wife 5593:Andrea del Sarto 5280:The Descent from the Cross 5167:The Birth of the Milky Way 5137:The Dance of the Villagers 4404:The Mulattos of Esmeraldas 4251:Adoration of the Shepherds 4116:Portrait of an Elderly Man 4044:Adoration of the Shepherds 3959:A Pilgrimage to San Isidro 3355:And So Was His Grandfather 3251:A Pilgrimage to San Isidro 1561:Connell, pp. 158–159. 1200:Connell, pp. 145–148. 1158:Connell, pp. 145–146. 957:The first paraphrasing of 868: 806:upon its opening in 1819. 738:artists, and perfected by 664:Liberty Leading the People 617:Liberty Leading the People 533:Los desastres de la guerra 511:Los desastres de la guerra 406:Los desastres de la guerra 372:Los desastres de la guerra 213: 6078: 6045: 6041: 6030: 6006: 5831: 5646:The Immaculate Conception 5295: 5213:(with Brueghel the Elder) 5197:The Triumph of the Church 5078:(with Brueghel the Elder) 5069:(with Brueghel the Elder) 4990:Apollo as Victor over Pan 4977:The Sciences and the Arts 4689: 4164:Saint John the Evangelist 4152:Saint Bernardino of Siena 4062:Christ Carrying the Cross 3983:Self-portrait at 69 years 3768: 3764: 3753: 3723: 3712: 3614: 3556:Goya, a Story of Solitude 3539: 3506:Museo del Grabado de Goya 3498: 3476: 3445: 3420: 3389: 3371: 3341: 3334: 3208: 3088: 3054:Self-Portrait at 69 years 2895:Self-Portrait at an Easel 2863: 2836: 2773:The Burial of the Sardine 2483: 2474: 2038:. Retrieved June 4, 2010. 1775:. Reuters. Archived from 1523:Spivey, pp. 193–195. 1169:Francisco Goya, 1746–1828 1111:October 15, 2012, at the 932: 724:Giovanni Battista Tiepolo 603:Iconography and invention 337:, the first to be called 288:, and Napoleon's brother 73: 65: 55: 47: 37: 28: 23: 5816:Christ Among the Doctors 5400:Assumption of the Virgin 4951:The Crowning with Thorns 4505:Coronation of the Virgin 4182:Saint Thomas the Apostle 4007:Two Old Ones Eating Soup 3971:Saturn Devouring His Son 3941:The Milkmaid of Bordeaux 3869:The Countess of Chinchon 3741:Cloister of Saint Jerome 3314:Two Old Ones Eating Soup 3230:Saturn Devouring His Son 3078:The Milkmaid of Bordeaux 3006:Portrait of Manuel Godoy 2990:The Countess of Chinchon 2733:The Inquisition Tribunal 2355:Catálogo de las pinturas 2184:. Universe Books, 1979. 2144:Goya 1746–1828, Volume 1 1962:Picasso A Retrospective, 1671:Licht, pp. 125–127. 1383:What Great Paintings Say 1137:Licht, pp. 116–127. 789:, they did not consider 309:1808 Napoleonic invasion 5752:Religion saved by Spain 5633:The Washing of the Feet 5515:Holy Family with Angels 5412:Venus, Adonis and Cupid 4814:Life in the Countryside 4541:The Jester Calabacillas 4232:Portrait of a Gentleman 4104:Portrait of a Gentleman 3917:Man Mocked by Two Women 3279:Man Mocked by Two Women 2717:Truth, Time and History 2242:Goya: The Last Carnival 1981:The Burlington Magazine 1717:March 28, 2008, at the 1535:Bareau, pp. 48–50. 1514:Bareau, pp. 49–50. 1479:Tomlinson, p. 139. 593:And it cannot be helped 552:One cannot look at this 500:One cannot look at this 244:, along with the title 5962:The Family of Philip V 5872:The Family of Philip V 5859:The Pearl and the Wave 5546:Portrait of a Cardinal 5116:The Judgement of Paris 5059:Landscape with Skaters 4927:The Betrayal of Christ 4854:Marriage of the Virgin 4638:Hercules and the Hydra 4571:Portrait of Maria Anna 4439:The Surrender of Breda 4430: 4425:The Triumph of Bacchus 4416: 4317:Our Lady of the Rosary 4213:The Death of Cleopatra 4146:Saint Anthony of Padua 3977:The Second of May 1808 3638:Rosario Weiss Zorrilla 2741:The Second of May 1808 2354: 2114:Francisco Goya: A Life 2109:". Beacon Press, 1968. 2012:April 5, 2013, at the 1920:April 3, 2008, at the 1748: 1742: 1740:The phrase in full is 1727: 1627:of Gethsemane and the 1500: 1488:Stoichita, p. 37. 1309: 1010: 990: 954: 952:The Third of May 1808. 884: 842:for safety during the 813: 794: 731: 679: 625: 587: 583: 572:And there is no remedy 566: 546: 532: 515: 510: 494: 451: 405: 393: 376: 371: 355: 312: 272: 264:The Second of May 1808 141:The Second of May 1808 113: 105: 97: 6169:Paintings about death 5624:Judith and Holofernes 5131:Adoration of the Magi 5015:Adoration of the Magi 4996:Meleager and Atalanta 4740:Adoration of the Magi 4626:The Death of Hercules 4535:The Jester Barbarroja 4487:Adoration of the Magi 4323:The Patrician's Dream 4226:Adoration of the Magi 4158:Saint James the Great 4074:The Flight into Egypt 3995:The Third of May 1808 3905:Judith and Holofernes 3833:Boys playing soldiers 3731:Casón del Buen Retiro 3479:The Bulls of Bordeaux 3237:Judith and Holofernes 3138:Children in a Chariot 3130:Boys Playing Soldiers 2749:The Third of May 1808 2273:Wilson–Bareau, Juliet 2260:Yale University Press 2054:July 1, 2017, at the 1945:, 1997. p. 216. 1839:Connell, p. 158. 1606:1819 painting by Goya 1319:, and influenced the 1225:, p. 30. Verso, 2008. 1007:The Third of May 1808 995: 977: 940: 876: 859:The Third of May 1808 791:The Third of May 1808 779: 722: 673: 610: 560: 488: 431:The Third of May 1808 353: 298: 269:The Third of May 1808 261: 180:The Third of May 1808 174:The Third of May 1808 120:The Third of May 1808 24:The Third of May 1808 5822:The Finding of Moses 5797:The Worship of Venus 5457:The Finding of Moses 5203:Deucalion and Pyrrha 5179:The Rape of Ganymede 5002:The Painter's Family 4796:The Triumph of Death 4758:Head of a Halberdier 4752:The Haywain Triptych 4708:The Fountain of Life 4674:Still Life with Pots 4098:Portrait of a Doctor 3809:Allegory of Industry 3572:Goya: A Life in Song 3392:The Disasters of War 2655:Allegory of Industry 2254:Tomlinson, Janis A. 2208:Schiller, Gertrude. 2034:May 9, 2010, at the 1965:Museum of Modern Art 1926:Museum of Modern Art 1848:Hughes, p. 314. 1728:C. de las Aguas 1595:Spivey, p. 195. 1343:The Disasters of War 1323:. Heras, p. 73. 576:The Disasters of War 527:The Disasters of War 505:The Disasters of War 480:The Disasters of War 401:The Disasters of War 385:Juan Meléndez Valdés 366:The Disasters of War 345:Sir Arthur Wellesley 318:Dos de Mayo Uprising 238:Maria Luisa of Parma 221:Napoleon I of France 118:. Commonly known as 5846:Agony in the Garden 5716:Philip II in Armour 5558:Madonna of the Rose 5502:Death of the Virgin 5451:O. Gentileschi 5438:A. Gentileschi 5245:Teniers the Younger 4342:Doña Joanna the Mad 4329:Rebecca and Eleazar 4272:Christ on the Cross 3727:Villanueva building 3168:The Threshing Floor 2958:Bernardo de Iriarte 2765:A Village Bullfight 2318:. pp. 99–100. 2277:Goya's Prints, The 2107:Looking at Pictures 2071:Clark, p. 123. 2029:Costa Tropical News 1895:, January 11, 2007. 1857:Boime, p. 211. 1779:on February 1, 2013 1761:Prado, p. 140. 1712:The Unflinching Eye 1659:Licht, p. 119. 1647:Licht, p. 122. 1624:Agony in the Garden 1586:Licht, p. 118. 1577:Licht, p. 121. 1549:Licht, p. 124. 1441:Licht, p. 117. 1429:Licht, p. 116. 1401:Clark, p. 127. 1358:Clark, p. 126. 1332:Clark, p. 129. 1298:Licht, p. 111. 1286:Bareau, p. 45. 1257:Licht, p. 112. 1212:Licht, p. 109. 1146:Clark, p. 130. 1028:bombing of Guernica 907:Oath of the Horatii 902:Jacques-Louis David 701:Agony in the Garden 6159:Anti-war paintings 5782:Venus and Musician 5599:Sacrifice of Isaac 5173:The Rape of Europa 5161:The Garden of Love 5143:Diana and Callisto 4933:The Brazen Serpent 4721:The Ages and Death 4391:The Blind Sculptor 4080:Holy Face of Jesus 3899:Fight with Cudgels 3783:José de Espronceda 3286:Fight with Cudgels 2853:Life of the Virgin 2670:Majas on a Balcony 2592:Assault of Thieves 2576:Yard with Lunatics 2522:The Rape of Europa 2380:. Art in Context. 2060:The New York Times 1937:Brombert, Beth A. 1698:Ford, p. 678. 1066:United States Army 1011: 955: 885: 795: 732: 680: 654:Raft of the Medusa 649:Théodore Géricault 626: 584: 516: 377: 313: 273: 146:The Charge of the 6107: 6106: 6074: 6073: 6070: 6069: 6061:Castor and Pollux 6026: 6025: 6022: 6021: 6014:British paintings 5387:David and Goliath 4790:Bruegel the Elder 4746:Cutting the Stone 4287:The Good Shepherd 3827:Blind Man's Bluff 3749: 3748: 3672: 3671: 3633:Leocadia Zorrilla 3494: 3493: 3330: 3329: 3192:Blind Man's Bluff 3161:The Grape Harvest 2950:The Black Duchess 2927:The White Duchess 2616:The Bewitched Man 2382:The Penguin Press 2352:Museo del Prado. 2112:Connell, Evan S. 1420:pp. 299–300. 1370:Antonio de Trueba 1321:Romantic movement 1128:for the location. 1053:Massacre in Korea 1032:Spanish Civil War 1002:Massacre in Korea 921:Antoine-Jean Gros 844:Spanish Civil War 808:Théophile Gautier 661:'s 1830 painting 645:Romantic painters 547:No se puede mirar 518:Goya's series of 495:No se puede mirar 381:French Revolution 322:The Second of May 223:declared himself 197:Massacre in Korea 153:French occupation 87: 86: 6191: 6136: 6135: 6134: 6124: 6123: 6115: 6097: 6096: 6043: 6042: 6032: 6031: 5993: 5980: 5967: 5958: 5933: 5884: 5877: 5868: 5855: 5842: 5810:Venus and Adonis 5806: 5787: 5778: 5773:Venus and Adonis 5763: 5688: 5655: 5642: 5629: 5608: 5595: 5582: 5575: 5542: 5511: 5498: 5485: 5478: 5469: 5462: 5453: 5440: 5421: 5396: 5383: 5370: 5357: 5344: 5319: 5306: 5276: 5267:Alpine Landscape 5263: 5256: 5247: 5234: 5221: 5214: 5125:The Three Graces 5121: 5112: 5099: 5086: 5079: 5070: 5037: 5024: 5011: 4986: 4973: 4960: 4917: 4898: 4885: 4878: 4869: 4850: 4843: 4834: 4833:(with de Momper) 4825: 4824:(with de Momper) 4792: 4779: 4730: 4717: 4704: 4616: 4499:Christ Crucified 4435: 4421: 4413: 4400: 4351: 4338: 4277: 4256: 4247: 4222: 4209: 4034: 3857:The Clothed Maja 3851:Christ Crucified 3805: 3792: 3779: 3766: 3765: 3755: 3754: 3714: 3713: 3699: 3692: 3685: 3676: 3675: 3628:Quinta del Sordo 3580:Goya in Bordeaux 3468: 3465: 3437: 3412: 3409: 3339: 3338: 3221: 3220: 1819–1823 3218: 3124: 3121: 2944: 2941: 2889: 2886: 2834: 2833: 2820: 2817: 2797: 2794: 2782: 2779: 2693:The Knifegrinder 2685:The Water Bearer 2679: 2678: 1808–1812 2676: 2664: 2661: 2641: 2640: 1797–1800 2638: 2624:Witches' Sabbath 2530:Christ Crucified 2516: 2513: 2501: 2498: 2461: 2454: 2447: 2438: 2437: 2423:Official listing 2411: 2379: 2357: 2338:Maenius, Chase. 2335: 2313: 2132:, 3rd edn, 1855 2072: 2069: 2063: 2045: 2039: 2023: 2017: 2003: 1997: 1990: 1984: 1977: 1968: 1959: 1953: 1935: 1929: 1911: 1905: 1902: 1896: 1889: 1878: 1864: 1858: 1855: 1849: 1846: 1840: 1837: 1831: 1828: 1819: 1818: 1817: 1815: 1795: 1789: 1788: 1786: 1784: 1768: 1762: 1759: 1753: 1751: 1745: 1738: 1732: 1730: 1705: 1699: 1696: 1690: 1687: 1681: 1678: 1672: 1669: 1660: 1657: 1648: 1645: 1632: 1629:Arrest of Christ 1615: 1609: 1602: 1596: 1593: 1587: 1584: 1578: 1575: 1562: 1559: 1550: 1547: 1536: 1533: 1524: 1521: 1515: 1512: 1506: 1503: 1495: 1489: 1486: 1480: 1477: 1458: 1448: 1442: 1439: 1430: 1427: 1421: 1417: 1411: 1408: 1402: 1399: 1393: 1379: 1373: 1365: 1359: 1356: 1350: 1339: 1333: 1330: 1324: 1314: 1305: 1299: 1296: 1287: 1284: 1278: 1264: 1258: 1255: 1246: 1232: 1226: 1221:Fraser, Ronald. 1219: 1213: 1210: 1201: 1198: 1192: 1187:Baines, Edward. 1185: 1179: 1165: 1159: 1156: 1147: 1144: 1138: 1135: 1129: 1122: 1116: 1101: 1081:history painting 1076:The Third of May 1062:The Third of May 1040:The Third of May 1014:The Third of May 980:The Third of May 959:The Third of May 889:The Third of May 878:Miguel Gamborino 852:restoration work 824:The Third of May 818: 787:House of Bourbon 761:The Third of May 744:The Third of May 692:Jusepe de Ribera 659:Eugène Delacroix 657:(1818–1819) and 640:The Third of May 634:Richard Schickel 630:history painting 622:history painting 612:Eugène Delacroix 590: 588:Y no hay remedio 580:The Third of May 569: 567:Y no hay remedio 549: 535: 513: 497: 456: 415:The Third of May 408: 398: 374: 358: 330:The Third of May 290:Joseph Bonaparte 165:The Third of May 116: 108: 100: 33: 21: 20: 6199: 6198: 6194: 6193: 6192: 6190: 6189: 6188: 6144: 6143: 6142: 6132: 6130: 6118: 6110: 6108: 6103: 6066: 6037: 6018: 6002: 5989: 5976: 5965: 5954: 5929: 5880: 5875: 5864: 5851: 5838: 5827: 5802: 5785: 5776: 5761: 5686: 5671:The Fall of Man 5651: 5638: 5628:(by his studio) 5627: 5604: 5591: 5578: 5573: 5538: 5507: 5494: 5481: 5477:(by his studio) 5476: 5465: 5460: 5449: 5436: 5425:Noli me tangere 5417: 5392: 5379: 5366: 5353: 5340: 5315: 5302: 5291: 5272: 5259: 5254: 5243: 5230: 5217: 5212: 5209:The Five Senses 5155:The Fall of Man 5119: 5108: 5095: 5082: 5077: 5068: 5033: 5020: 5007: 4982: 4969: 4956: 4913: 4894: 4881: 4876: 4865: 4846: 4841: 4838:The Five Senses 4832: 4823: 4788: 4775: 4726: 4713: 4700: 4693: 4691: 4685: 4612: 4409: 4398:Sánchez Gallque 4396: 4367:Isaac and Jacob 4347: 4334: 4275: 4254: 4243: 4218: 4205: 4176:Saint Sebastian 4030: 4019:Witches' Flight 3887:The Drunk Mason 3801: 3788: 3775: 3760: 3745: 3719: 3708: 3706:Museo del Prado 3703: 3673: 3668: 3610: 3535: 3490: 3472: 3466: 3459:A way of flying 3441: 3433: 3416: 3410: 3385: 3367: 3326: 3219: 3214: 3211:Black Paintings 3204: 3184:The Drunk Mason 3122: 3094: 3091: 3084: 2942: 2887: 2859: 2832: 2818: 2795: 2780: 2677: 2662: 2647:La maja vestida 2639: 2632:La maja desnuda 2608:Witches' Flight 2584:Prison Interior 2554:The Drunk Mason 2546:The Greasy Pole 2514: 2499: 2479: 2470: 2465: 2431:English listing 2427:Museo del Prado 2419: 2414: 2392: 2340:13 Masterpieces 2298: 2296:Further reading 2293: 2222:Spivey, Nigel. 2126:Ford, Richard. 2081: 2076: 2075: 2070: 2066: 2056:Wayback Machine 2047:Riding, Alan. " 2046: 2042: 2036:Wayback Machine 2024: 2020: 2014:Wayback Machine 2004: 2000: 1991: 1987: 1978: 1971: 1960: 1956: 1936: 1932: 1922:Wayback Machine 1912: 1908: 1903: 1899: 1890: 1881: 1865: 1861: 1856: 1852: 1847: 1843: 1838: 1834: 1829: 1822: 1813: 1811: 1796: 1792: 1782: 1780: 1769: 1765: 1760: 1756: 1739: 1735: 1719:Wayback Machine 1706: 1702: 1697: 1693: 1688: 1684: 1679: 1675: 1670: 1663: 1658: 1651: 1646: 1635: 1616: 1612: 1603: 1599: 1594: 1590: 1585: 1581: 1576: 1565: 1560: 1553: 1548: 1539: 1534: 1527: 1522: 1518: 1513: 1509: 1496: 1492: 1487: 1483: 1478: 1461: 1456:Temple of Debod 1449: 1445: 1440: 1433: 1428: 1424: 1418: 1414: 1409: 1405: 1400: 1396: 1380: 1376: 1366: 1362: 1357: 1353: 1340: 1336: 1331: 1327: 1306: 1302: 1297: 1290: 1285: 1281: 1265: 1261: 1256: 1249: 1233: 1229: 1220: 1216: 1211: 1204: 1199: 1195: 1186: 1182: 1166: 1162: 1157: 1150: 1145: 1141: 1136: 1132: 1123: 1119: 1113:Wayback Machine 1102: 1095: 1090: 935: 871: 774: 728:St. Bartholomew 605: 483: 428: 423: 242:Manuel de Godoy 234:Charles IV 229:French Republic 218: 212: 128:Museo del Prado 94:(also known as 78:Museo del Prado 17: 12: 11: 5: 6197: 6187: 6186: 6181: 6179:Peninsular War 6176: 6171: 6166: 6161: 6156: 6154:1814 paintings 6141: 6140: 6128: 6105: 6104: 6102: 6101: 6090: 6089: 6086: 6083: 6079: 6076: 6075: 6072: 6071: 6068: 6067: 6065: 6064: 6057: 6049: 6047: 6039: 6038: 6028: 6027: 6024: 6023: 6020: 6019: 6017: 6016: 6010: 6008: 6004: 6003: 6001: 6000: 5987: 5974: 5952: 5927: 5878: 5862: 5849: 5835: 5833: 5829: 5828: 5826: 5825: 5800: 5710:Mater Dolorosa 5692:The Entombment 5649: 5636: 5602: 5589: 5576: 5536: 5505: 5492: 5479: 5463: 5447: 5434: 5415: 5390: 5377: 5364: 5351: 5338: 5313: 5299: 5297: 5293: 5292: 5290: 5289: 5274:van der Weyden 5270: 5257: 5241: 5228: 5215: 5106: 5093: 5080: 5031: 5018: 5005: 4980: 4967: 4954: 4911: 4892: 4879: 4873:Caritas Romana 4863: 4844: 4786: 4773: 4724: 4711: 4697: 4695: 4687: 4686: 4684: 4683: 4610: 4432:Las Hilanderas 4407: 4394: 4345: 4332: 4241: 4216: 4203: 4028: 3947:The Naked Maja 3875:Los disparates 3799: 3786: 3772: 3770: 3762: 3761: 3751: 3750: 3747: 3746: 3744: 3743: 3738: 3736:Hall of Realms 3733: 3728: 3724: 3721: 3720: 3710: 3709: 3702: 3701: 3694: 3687: 3679: 3670: 3669: 3667: 3666: 3658: 3650: 3645: 3640: 3635: 3630: 3625: 3618: 3616: 3612: 3611: 3609: 3608: 3600: 3592: 3584: 3576: 3568: 3560: 3552: 3548:The Naked Maja 3543: 3541: 3537: 3536: 3534: 3533: 3523: 3513: 3502: 3500: 3496: 3495: 3492: 3491: 3489: 3488: 3485: 3483: 3474: 3473: 3471: 3470: 3467: 1815–16 3454: 3452: 3448:Los Disparates 3443: 3442: 3440: 3439: 3429: 3427: 3423:La Tauromaquia 3418: 3417: 3415: 3414: 3411: 1812–13 3398: 3396: 3387: 3386: 3384: 3383: 3380: 3378: 3369: 3368: 3366: 3365: 3358: 3350: 3348: 3336: 3332: 3331: 3328: 3327: 3325: 3324: 3317: 3310: 3303: 3296: 3289: 3282: 3275: 3268: 3261: 3254: 3247: 3240: 3233: 3225: 3223: 3206: 3205: 3203: 3202: 3196: 3188: 3180: 3172: 3164: 3158: 3150: 3142: 3134: 3126: 3111: 3102: 3100: 3086: 3085: 3083: 3082: 3074: 3066: 3058: 3050: 3042: 3034: 3026: 3018: 3010: 3002: 2994: 2986: 2978: 2970: 2962: 2954: 2946: 2931: 2923: 2915: 2907: 2899: 2898:(c. 1790–1795) 2891: 2876: 2867: 2865: 2861: 2860: 2858: 2857: 2849: 2840: 2838: 2831: 2830: 2822: 2807: 2799: 2784: 2769: 2761: 2753: 2745: 2737: 2729: 2721: 2713: 2705: 2697: 2689: 2681: 2666: 2651: 2643: 2628: 2620: 2612: 2604: 2596: 2588: 2580: 2572: 2564: 2558: 2550: 2542: 2534: 2526: 2518: 2503: 2487: 2485: 2481: 2480: 2475: 2472: 2471: 2468:Francisco Goya 2464: 2463: 2456: 2449: 2441: 2435: 2434: 2418: 2417:External links 2415: 2413: 2412: 2390: 2366: 2350: 2336: 2316:Hyperion Press 2299: 2297: 2294: 2292: 2291: 2270: 2252: 2238: 2220: 2206: 2192: 2178: 2164:Hughes, Robert 2161: 2147: 2137: 2124: 2110: 2103:Clark, Kenneth 2100: 2082: 2080: 2077: 2074: 2073: 2064: 2040: 2018: 1998: 1985: 1969: 1954: 1930: 1906: 1897: 1879: 1866:Honour, Hugh. 1859: 1850: 1841: 1832: 1820: 1790: 1763: 1754: 1749:El dos de mayo 1733: 1708:Hughes, Robert 1700: 1691: 1682: 1673: 1661: 1649: 1633: 1610: 1597: 1588: 1579: 1563: 1551: 1537: 1525: 1516: 1507: 1490: 1481: 1459: 1443: 1431: 1422: 1412: 1403: 1394: 1374: 1360: 1351: 1334: 1325: 1300: 1288: 1279: 1259: 1247: 1227: 1214: 1202: 1193: 1180: 1160: 1148: 1139: 1130: 1117: 1092: 1091: 1089: 1086: 934: 931: 870: 867: 773: 770: 604: 601: 538:British Museum 482: 477: 427: 424: 422: 419: 335:Peninsular War 326:Puerta del Sol 246:Prince of the 216:Peninsular War 214:Main article: 211: 208: 136:Peninsular War 124:Francisco Goya 85: 84: 75: 71: 70: 67: 63: 62: 57: 53: 52: 49: 45: 44: 42:Francisco Goya 39: 35: 34: 26: 25: 15: 9: 6: 4: 3: 2: 6196: 6185: 6184:War paintings 6182: 6180: 6177: 6175: 6172: 6170: 6167: 6165: 6162: 6160: 6157: 6155: 6152: 6151: 6149: 6139: 6129: 6127: 6122: 6117: 6116: 6113: 6100: 6092: 6091: 6087: 6084: 6081: 6080: 6077: 6063: 6062: 6058: 6056: 6055: 6051: 6050: 6048: 6044: 6040: 6033: 6029: 6015: 6012: 6011: 6009: 6005: 5999: 5998: 5992: 5988: 5986: 5985: 5979: 5975: 5973: 5972: 5964: 5963: 5957: 5953: 5951: 5950: 5949:Saint Cecilia 5945: 5944: 5939: 5938: 5932: 5928: 5926: 5925: 5920: 5919: 5914: 5913: 5908: 5907: 5902: 5901: 5896: 5895: 5890: 5889: 5883: 5879: 5874: 5873: 5867: 5863: 5861: 5860: 5854: 5850: 5848: 5847: 5841: 5837: 5836: 5834: 5830: 5824: 5823: 5818: 5817: 5812: 5811: 5805: 5801: 5799: 5798: 5793: 5792: 5784: 5783: 5775: 5774: 5769: 5768: 5760: 5759: 5758:Self-Portrait 5754: 5753: 5748: 5747: 5742: 5741: 5736: 5735: 5730: 5729: 5724: 5723: 5718: 5717: 5712: 5711: 5706: 5705: 5700: 5699: 5694: 5693: 5685: 5684: 5679: 5678: 5673: 5672: 5667: 5666: 5661: 5660: 5654: 5650: 5648: 5647: 5641: 5637: 5635: 5634: 5626: 5625: 5620: 5619: 5614: 5613: 5607: 5603: 5601: 5600: 5594: 5590: 5588: 5587: 5581: 5577: 5574:(with Romano) 5572: 5571: 5566: 5565: 5560: 5559: 5554: 5553: 5548: 5547: 5541: 5537: 5535: 5534: 5533:Saint Barbara 5529: 5528: 5523: 5522: 5517: 5516: 5510: 5506: 5504: 5503: 5497: 5493: 5491: 5490: 5484: 5480: 5475: 5474: 5468: 5464: 5459: 5458: 5452: 5448: 5446: 5445: 5439: 5435: 5433: 5432: 5427: 5426: 5420: 5416: 5414: 5413: 5408: 5407: 5402: 5401: 5395: 5391: 5389: 5388: 5382: 5378: 5376: 5375: 5369: 5365: 5363: 5362: 5356: 5352: 5350: 5349: 5343: 5339: 5337: 5336: 5331: 5330: 5325: 5324: 5318: 5314: 5312: 5311: 5305: 5301: 5300: 5298: 5294: 5288: 5287: 5286:Durán Madonna 5282: 5281: 5275: 5271: 5269: 5268: 5262: 5258: 5253: 5252: 5246: 5242: 5240: 5239: 5233: 5229: 5227: 5226: 5220: 5216: 5211: 5210: 5205: 5204: 5199: 5198: 5193: 5192: 5187: 5186: 5181: 5180: 5175: 5174: 5169: 5168: 5163: 5162: 5157: 5156: 5151: 5150: 5145: 5144: 5139: 5138: 5133: 5132: 5127: 5126: 5118: 5117: 5111: 5107: 5105: 5104: 5098: 5094: 5092: 5091: 5085: 5081: 5076: 5075: 5067: 5066: 5061: 5060: 5055: 5054: 5049: 5048: 5043: 5042: 5036: 5032: 5030: 5029: 5023: 5019: 5017: 5016: 5010: 5006: 5004: 5003: 4998: 4997: 4992: 4991: 4985: 4981: 4979: 4978: 4972: 4968: 4966: 4965: 4959: 4955: 4953: 4952: 4947: 4946: 4945:Saint Rosalia 4941: 4940: 4935: 4934: 4929: 4928: 4923: 4922: 4916: 4912: 4910: 4909: 4908:Self-Portrait 4904: 4903: 4897: 4893: 4891: 4890: 4884: 4880: 4875: 4874: 4868: 4864: 4862: 4861: 4860:Werl Triptych 4856: 4855: 4849: 4845: 4842:(with Rubens) 4840: 4839: 4831: 4830: 4822: 4821: 4816: 4815: 4810: 4809: 4804: 4803: 4798: 4797: 4791: 4787: 4785: 4784: 4778: 4774: 4772: 4771: 4766: 4765: 4760: 4759: 4754: 4753: 4748: 4747: 4742: 4741: 4736: 4735: 4729: 4725: 4723: 4722: 4716: 4712: 4710: 4709: 4703: 4699: 4698: 4696: 4688: 4682: 4681: 4676: 4675: 4670: 4669: 4664: 4663: 4658: 4657: 4652: 4651: 4646: 4645: 4640: 4639: 4634: 4633: 4628: 4627: 4622: 4621: 4615: 4611: 4609: 4608: 4603: 4602: 4597: 4596: 4591: 4590: 4585: 4584: 4579: 4578: 4573: 4572: 4567: 4566: 4561: 4560: 4555: 4554: 4549: 4548: 4543: 4542: 4537: 4536: 4531: 4530: 4525: 4524: 4519: 4518: 4513: 4512: 4507: 4506: 4501: 4500: 4495: 4494: 4489: 4488: 4483: 4482: 4477: 4476: 4471: 4470: 4465: 4464: 4459: 4458: 4453: 4452: 4447: 4446: 4441: 4440: 4434: 4433: 4427: 4426: 4420: 4419: 4412: 4408: 4406: 4405: 4399: 4395: 4393: 4392: 4387: 4386: 4381: 4380: 4375: 4374: 4369: 4368: 4363: 4362: 4357: 4356: 4355:Jacob's Dream 4350: 4346: 4344: 4343: 4337: 4333: 4331: 4330: 4325: 4324: 4319: 4318: 4313: 4312: 4307: 4306: 4301: 4300: 4295: 4294: 4289: 4288: 4283: 4282: 4274: 4273: 4268: 4267: 4262: 4261: 4253: 4252: 4246: 4242: 4240: 4239: 4234: 4233: 4228: 4227: 4221: 4217: 4215: 4214: 4208: 4204: 4202: 4201: 4196: 4195: 4190: 4189: 4184: 4183: 4178: 4177: 4172: 4171: 4166: 4165: 4160: 4159: 4154: 4153: 4148: 4147: 4142: 4141: 4136: 4135: 4130: 4129: 4124: 4123: 4118: 4117: 4112: 4111: 4106: 4105: 4100: 4099: 4094: 4093: 4088: 4087: 4082: 4081: 4076: 4075: 4070: 4069: 4064: 4063: 4058: 4057: 4052: 4051: 4046: 4045: 4040: 4039: 4033: 4032:El Greco 4029: 4027: 4026: 4021: 4020: 4015: 4014: 4009: 4008: 4003: 4002: 3997: 3996: 3991: 3990: 3985: 3984: 3979: 3978: 3973: 3972: 3967: 3966: 3961: 3960: 3955: 3954: 3949: 3948: 3943: 3942: 3937: 3936: 3931: 3930: 3925: 3924: 3919: 3918: 3913: 3912: 3907: 3906: 3901: 3900: 3895: 3894: 3889: 3888: 3883: 3882: 3877: 3876: 3871: 3870: 3865: 3864: 3859: 3858: 3853: 3852: 3847: 3846: 3845:Los caprichos 3841: 3840: 3835: 3834: 3829: 3828: 3823: 3822: 3817: 3816: 3811: 3810: 3804: 3800: 3798: 3797: 3791: 3787: 3785: 3784: 3778: 3774: 3773: 3771: 3767: 3763: 3756: 3752: 3742: 3739: 3737: 3734: 3732: 3729: 3726: 3725: 3722: 3715: 3711: 3707: 3700: 3695: 3693: 3688: 3686: 3681: 3680: 3677: 3664: 3663: 3659: 3656: 3655: 3651: 3649: 3646: 3644: 3641: 3639: 3636: 3634: 3631: 3629: 3626: 3623: 3620: 3619: 3617: 3613: 3606: 3605: 3601: 3598: 3597: 3596:Goya's Ghosts 3593: 3590: 3589: 3585: 3582: 3581: 3577: 3574: 3573: 3569: 3566: 3565: 3561: 3558: 3557: 3553: 3550: 3549: 3545: 3544: 3542: 3538: 3531: 3527: 3524: 3521: 3517: 3514: 3511: 3507: 3504: 3503: 3501: 3497: 3487: 3486: 3484: 3481: 3480: 3475: 3461: 3460: 3456: 3455: 3453: 3450: 3449: 3444: 3438: 3436: 3431: 3430: 3428: 3425: 3424: 3419: 3405: 3404: 3403:This is worse 3400: 3399: 3397: 3394: 3393: 3388: 3382: 3381: 3379: 3376: 3375: 3374:The Prisoners 3370: 3364: 3363: 3359: 3357: 3356: 3352: 3351: 3349: 3346: 3345: 3344:Los Caprichos 3340: 3337: 3333: 3323: 3322: 3318: 3316: 3315: 3311: 3309: 3308: 3304: 3302: 3301: 3297: 3295: 3294: 3290: 3288: 3287: 3283: 3281: 3280: 3276: 3274: 3273: 3269: 3267: 3266: 3262: 3260: 3259: 3255: 3253: 3252: 3248: 3246: 3245: 3241: 3239: 3238: 3234: 3232: 3231: 3227: 3226: 3224: 3213: 3212: 3207: 3200: 3197: 3194: 3193: 3189: 3186: 3185: 3181: 3178: 3177: 3173: 3170: 3169: 3165: 3162: 3159: 3156: 3155: 3151: 3148: 3147: 3143: 3140: 3139: 3135: 3132: 3131: 3127: 3117: 3116: 3112: 3109: 3108: 3107:The Boar Hunt 3104: 3103: 3101: 3098: 3093: 3087: 3080: 3079: 3075: 3072: 3071: 3067: 3064: 3063: 3059: 3056: 3055: 3051: 3048: 3047: 3043: 3040: 3039: 3035: 3032: 3031: 3027: 3024: 3023: 3019: 3016: 3015: 3011: 3008: 3007: 3003: 3000: 2999: 2995: 2992: 2991: 2987: 2984: 2983: 2979: 2976: 2975: 2971: 2968: 2967: 2963: 2960: 2959: 2955: 2952: 2951: 2947: 2937: 2936: 2932: 2929: 2928: 2924: 2921: 2920: 2916: 2913: 2912: 2908: 2905: 2904: 2900: 2897: 2896: 2892: 2882: 2881: 2877: 2874: 2873: 2869: 2868: 2866: 2862: 2855: 2854: 2850: 2847: 2846: 2842: 2841: 2839: 2835: 2828: 2827: 2823: 2813: 2812: 2808: 2805: 2804: 2800: 2790: 2789: 2785: 2775: 2774: 2770: 2767: 2766: 2762: 2759: 2758: 2754: 2751: 2750: 2746: 2743: 2742: 2738: 2735: 2734: 2730: 2727: 2726: 2722: 2719: 2718: 2714: 2711: 2710: 2706: 2703: 2702: 2698: 2695: 2694: 2690: 2687: 2686: 2682: 2672: 2671: 2667: 2657: 2656: 2652: 2649: 2648: 2644: 2634: 2633: 2629: 2626: 2625: 2621: 2618: 2617: 2613: 2610: 2609: 2605: 2602: 2601: 2597: 2594: 2593: 2589: 2586: 2585: 2581: 2578: 2577: 2573: 2570: 2569: 2565: 2562: 2559: 2556: 2555: 2551: 2548: 2547: 2543: 2540: 2539: 2535: 2532: 2531: 2527: 2524: 2523: 2519: 2509: 2508: 2504: 2494: 2493: 2489: 2488: 2486: 2482: 2478: 2477:List of works 2473: 2469: 2462: 2457: 2455: 2450: 2448: 2443: 2442: 2439: 2432: 2429:(in Spanish; 2428: 2424: 2421: 2420: 2409: 2405: 2401: 2397: 2393: 2391:0-7139-0301-5 2387: 2383: 2378: 2377: 2371: 2367: 2365: 2364:84-87317-53-7 2361: 2356: 2351: 2349: 2345: 2341: 2337: 2333: 2329: 2325: 2321: 2317: 2312: 2311: 2305: 2301: 2300: 2290: 2289:0-7141-0789-1 2286: 2282: 2280: 2274: 2271: 2269: 2268:0-300-05462-9 2265: 2261: 2257: 2253: 2251: 2250:1-86189-045-1 2247: 2243: 2239: 2237: 2236:0-520-23022-1 2233: 2229: 2225: 2221: 2219: 2218:0-415-23391-7 2215: 2211: 2207: 2205: 2204:1-57958-422-5 2201: 2197: 2193: 2191: 2190:0-87663-294-0 2187: 2183: 2180:Licht, Fred. 2179: 2177: 2176:0-394-58028-1 2173: 2169: 2165: 2162: 2160: 2159:0-87846-300-3 2156: 2152: 2148: 2145: 2141: 2138: 2135: 2131: 2130: 2125: 2123: 2122:1-58243-307-0 2119: 2115: 2111: 2108: 2104: 2101: 2099: 2098:0-226-06335-6 2095: 2091: 2087: 2086:Boime, Albert 2084: 2083: 2068: 2061: 2057: 2053: 2050: 2044: 2037: 2033: 2030: 2028: 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Chicago: 1868:Romanticism 1619:Saint Peter 1505:p. 50. 1036:Reina Sofía 1030:during the 830:. Both the 815:Dos de Mayo 688:chiaroscuro 426:Description 6148:Categories 6036:Sculptures 5606:Tintoretto 5564:Visitation 5381:Caravaggio 5368:Botticelli 5317:Anguissola 4361:Democritus 4170:Saint Paul 3643:Birthplace 3588:Volavérunt 3540:Depictions 2348:1320309550 1893:The Nation 1088:References 1058:Korean War 1046:, and the 772:Provenance 740:Caravaggio 542:I saw this 453:repoussoir 444:and their 210:Background 66:Dimensions 5937:Parnassus 5840:Anonymous 5698:La Gloria 5473:Mona Lisa 5419:Correggio 5261:Verhaecht 5097:Rembrandt 5074:Landscape 5035:de Momper 4867:de Crayer 4829:Landscape 4702:Anonymous 4620:Agnus Dei 4411:Velázquez 4068:The Fable 3759:Paintings 3718:Buildings 3482:(1824–25) 3426:(1815–16) 3347:(1797–98) 3201:(1791–92) 3187:(1786–87) 3179:(1786–87) 3146:The Swing 3133:(1778–79) 3041:(1810–11) 3017:(1804–05) 3001:(1800–01) 2969:(1798–99) 2911:La Tirana 2903:La Tirana 2875:(1787–88) 2864:Portraits 2826:Bullfight 2811:The Forge 2806:(1770–71) 2619:(1797–98) 2611:(1797–98) 2595:(1793–94) 2587:(1793–94) 2579:(1793–94) 2563:(1786–87) 2557:(1786–87) 2549:(1786–87) 2541:(1783–84) 2484:Paintings 2408:253118079 1317:Delacroix 1311:Caprichos 710:attribute 696:crucified 684:martyrdom 597:Disasters 311:of Spain. 182:inspired 148:Mamelukes 6099:Category 5894:The Ford 5804:Veronese 5740:Sisyphus 5570:La Perla 5496:Mantegna 5467:Leonardo 5394:Carracci 5348:Nativity 4984:Jordaens 4915:van Dyck 4692:Flemish, 4614:Zurbarán 4336:Pradilla 3777:Esquivel 3662:Goyescas 3654:Goyescas 3530:Zaragoza 3092:cartoons 3090:Tapestry 2400:73163492 2372:(1972). 2324:41051975 2306:(1941). 2262:, 1992. 2230:, 2001. 2052:Archived 2032:Archived 2010:Archived 1918:Archived 1808:archived 1715:Archived 1501:Yo lo vi 1347:I saw it 1109:Archived 1044:Guernica 1023:Guernica 1020:'s 1937 898:tonsured 840:Valencia 800:Bourbons 726:'s 1722 706:stigmata 574:) from " 523:etchings 520:aquatint 442:bayonets 361:I saw it 356:Yo lo vi 303:, 1801. 286:Bourbons 278:Zaragoza 203:Guernica 132:Napoleon 74:Location 6112:Portals 5994:: 5981:: 5978:Watteau 5959:: 5934:: 5931:Poussin 5885:: 5882:Lorrain 5869:: 5866:van Loo 5856:: 5843:: 5807:: 5656:: 5643:: 5640:Tiepolo 5609:: 5596:: 5583:: 5543:: 5540:Raphael 5512:: 5499:: 5486:: 5470:: 5454:: 5441:: 5422:: 5397:: 5384:: 5371:: 5358:: 5355:Bellini 5345:: 5342:Barocci 5320:: 5307:: 5296:Italian 5277:: 5264:: 5248:: 5235:: 5232:Strobel 5222:: 5113:: 5100:: 5087:: 5084:Patinir 5038:: 5025:: 5012:: 5009:Memling 4987:: 4974:: 4961:: 4918:: 4899:: 4886:: 4870:: 4851:: 4793:: 4780:: 4731:: 4718:: 4715:Baldung 4705:: 4617:: 4414:: 4401:: 4352:: 4339:: 4248:: 4245:Murillo 4223:: 4210:: 4035:: 3881:The Dog 3821:Atropos 3815:Asmodea 3806:: 3793:: 3790:Gisbert 3780:: 3769:Spanish 3615:Related 3520:Castres 3499:Museums 3321:The Dog 3307:Asmodea 3300:Atropos 2425:at the 2332:2550995 1994:Picasso 1038:showed 912:Horatii 869:Sources 749:conduit 736:Baroque 299:Goya's 248:Algarve 227:of the 5966:(1723) 5876:(1743) 5853:Baudry 5832:French 5777:(1554) 5762:(1567) 5746:Tityus 5687:(1565) 5653:Titian 5580:Romano 5461:(1633) 5255:(1651) 5191:Saturn 5120:(1638) 5110:Rubens 5047:A Farm 4877:(1625) 4848:Campin 4694:German 4690:Dutch, 4379:Tityos 4349:Ribera 4255:(1650) 3989:Summer 3624:(wife) 3607:(2017) 3195:(1789) 3176:Summer 3171:(1786) 3163:(1786) 3157:(1780) 3149:(1779) 3141:(1779) 3110:(1775) 3073:(1823) 3065:(1820) 3057:(1815) 3049:(1812) 3033:(1805) 3025:(1805) 3009:(1801) 2993:(1800) 2977:(1799) 2961:(1797) 2953:(1797) 2930:(1795) 2922:(1795) 2914:(1794) 2906:(1792) 2856:(1774) 2848:(1772) 2837:Murals 2829:(1824) 2760:(1815) 2752:(1814) 2744:(1814) 2627:(1798) 2603:(1795) 2571:(1787) 2533:(1780) 2525:(1772) 2406: 2398: 2388: 2362: 2346: 2330: 2322: 2287: 2266: 2248: 2234: 2216: 2202: 2188: 2174: 2157: 2120: 2096: 1949: 1874: 1783:May 3, 1452:Nubian 1389: 1274: 1242: 1175: 933:Legacy 916:salute 714:papacy 676:stigma 463:Second 363:), in 190:, and 82:Madrid 56:Medium 38:Artist 6138:Spain 6007:Other 5991:Vouet 5483:Lotto 5022:Mengs 4896:Dürer 4883:David 4777:Bouts 4728:Bosch 4373:Ixion 4220:Maíno 832:Third 502:) in 446:shako 305:Godoy 110:, or 6046:Rome 5956:Ranc 5219:Stom 4207:Luna 3803:Goya 3097:list 2404:OCLC 2396:LCCN 2386:ISBN 2360:ISBN 2344:ISBN 2328:OCLC 2320:LCCN 2310:Goya 2285:ISBN 2264:ISBN 2246:ISBN 2232:ISBN 2214:ISBN 2200:ISBN 2186:ISBN 2172:ISBN 2168:Goya 2155:ISBN 2118:ISBN 2094:ISBN 1947:ISBN 1872:ISBN 1816:2016 1785:2008 1387:ISBN 1272:ISBN 1240:ISBN 1173:ISBN 961:was 834:and 562:Goya 490:Goya 465:and 461:The 387:and 200:and 144:(or 51:1814 48:Year 2105:. 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The Third of May 1808

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