Lucientes Collection

GOYA: WITCHES SABBATH. The Witches Sabbath. Oil on canvas, 1795-98, by Francisco Goya

GOYA: SATURN, 1819-23. Saturn Devouring a Son. Oil by Francisco Goy, 1819-23

The Great He-Goat, 1820-1823, by Francisco de Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Great He-Goat, 1820-1823. Detail. Prado Museum. Madrid. Spain

Los Caprichos by Francisco de Goya (1746-1828)
Francisco de Goya (1746-1828). Spanish painter and printmaker. Los Caprichos. Lo que puede un sastre! (What can a tailor!). Number 52. Aquatint. 1799. Reproduction by M. Segui i Riera

GOYA Y LUCIENTES, Francisco de (1746-1828). The Dog. 1819 - 1823. Mural painting mounted on canvas. This painting with the other 13 works decorated two rooms of the Quinta del Sordo

GOYA Y LUCIENTES, Francisco de (1746-1828). Duchesse of Alba. 1795. SPAIN. Madrid. Liria Palace. Oil on canvas

The drowning Dog, 1820-1823, by Francisco de Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The drowning Dog, 1820-1823. Prado Museum. Madrid. Spain

Hunting Party, 1775, by Francisco de Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. Hunting Party, 1775. Prado Museum. Madrid. Spain

Witches Sabbath by Francisco de Goya
Francisco de Goya (1746-1828). Spanish romantic painter. Witches Sabbath, 1821-1823. Detail. Prado Museum. Madrid. Spain

Reading, 1820-1823, by Francisco de Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. Reading, 1820-1823. Prado Museum. Madrid. Spain

Goya (1746-1828). Spanish painter and printmaker. Los Capric
Francisco de Goya (1746-1828). Spanish painter and printmaker. Los Caprichos. Donde va mama? (Where are you going mum?). Number 65. Aquatint. 1799. Plate 43. Reproduction by M. Segui i Riera

Woman in Prison
GOYA Y LUCIENTES, Francisco de (1746-1828). Woman in Prison. Red and sanguine wash painting. Unique try that was destined

Goya (Postcard)
FRANCISCO JOSE DE GOYA Y LUCIENTES Spanish painter, etcher and lithographer

GOYA Y LUCIENTES, Francisco de (1746-1828). The Parasol. 1777. Was painted as a cartoon for a tapestry that would decorated the dinning room of the Palace of El Pardo. Oil on canvas. SPAIN. Madrid

There was nothing to be done and he died
GOYA Y LUCIENTES, Francisco de (1746-1828). There was nothing to be done and he died. Plate 53

Los Caprichos, series of etchings by Francisco de Goya (1746-1828), plate 24: No hubo remedio (There was no help), first edition, 1799

Allegory of the Villa of Madrid, 1810, by Francisco de Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. Allegory of the Villa of Madrid, 1810. History Museum. Madrid. Spain

The Witches Sabbath or The Witches, 1797-1798, by Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Witches Sabbath or The Witches, 1797-1798. Lazaro Galdiano Museum. Madrid. Spain

The Threshing Ground or Summer, 1786, by Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Threshing Ground or Summer, 1786. Detail. Lazaro Galdiano Museum. Madrid. Spain

Saint Elizabeth of Portugal healing a sick woman, circa 1799
Saint Elizabeth of Portugal (1271-1336). Queen of Portugal. Saint Elizabeth of Portugal healing a sick woman, circa 1799. By Francisco de Goya y Lucientes (1746-1828). Lazaro Galdiano Museum. Madrid

The Witches Sabbath, 1797-1798, by Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Witches Sabbath, 1797-1798. Lazaro Galdiano Museum. Madrid. Spain

The Inquisition Scene, 1808-1812, by Goya
Francisco de Goya y Lucientes (1746-1828). Spanish painter. The Inquisition Scene, 1808-1812. Detail. San Fernando Royal Academy of Fine Arts. Madrid. Spain. Date: 2019

Antonio Ricardos (1727-1794), 1794, by Goya
Antonio Ricardos (1727-1794). Spanish military. Portrait by Francisco de Goya y Lucientes (1746-1828), 1794. San Fernando Royal Academy of Fine Arts. Madrid. Spain. Date: 2019

Mausoleum of Francisco de Goya in Bordeaux, 1828
Antonio de Brugada (1804-1863). Spanish painter. Mausoleum of Francisco de Goya in Bordeaux, 1828. San Fernando Royal Academy of Fine Arts. Madrid. Spain. Date: 2019

Equestrian portrait of Ferdinand VII (1784-1833)
Ferdinand VII (1784-1833). King of Spain (1808-1833). Equestrian portrait of Ferdinand VII, 1808. Detail. By Francisco de Goya y Lucientes (1746-1828). San Fernando Royal Academy of Fine Arts

Disparate 10
An etching from Goya's Los Disparates series of artworks (The Follies). This example shows a rearing horse, biting the garment of a flailing man in a barren landscape. Date: circa 1816-1823

Francisco de Goya y Lucientes - Los Zancos (Stilts) (1791-1792) - original on display at Museo Nacional del Prado. Date: 1792

Dead Birds
GOYA Y LUCIENTES, Francisco de (1746-1828). Dead Birds. Oil on canvas

Le ayuda a bien morir (He helps him to die)
GOYA Y LUCIENTES, Francisco de (1746-1828). Le ayuda a bien morir (He helps him to die). Drawing

Until Death, Plate 55 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Until death. Plate 55 of Los Caprichos, etching and burnished aquatint. Etching;

Of what ill will he die?
GOYA Y LUCIENTES, Francisco de (1746-1828). Of what ill will he die?. Preparatory red wash and sanguine drawing for plate

The Unlucky Death of Pepe Hillo
GOYA Y LUCIENTES, Francisco de (1746-1828). The Unlucky Death of Pepe Hillo (Jose Delgado) in the Ring at Madrid

Allegory: War or Evil. The Death and an owl
GOYA Y LUCIENTES, Francisco de (1746-1828). Allegory: War or Evil. The Death and an owl. Drawing

Francisco Jose de Goya y Lucientes, from Living Biographies of Great Painters
3960943 Francisco Jose de Goya y Lucientes, from Living Biographies of Great Painters by Ross, Gordon (1872-1946); (add.info.: Francisco Jose de Goya y Lucientes, 1746-1828)

La Bouillie : Beggars Eating Mash, (black lead, brush and gray wash)
990038 La Bouillie : Beggars Eating Mash, (black lead, brush and gray wash) by Goya y Lucientes, Francisco Jose de (1746-1828); 22.6x14.6 cm; Private Collection; (add.info.: La Bouillie)

Do those who escape work end up like this?, (black lead, brush and black and grey wash)
989993 Do those who escape work end up like this?, (black lead, brush and black and grey wash) by Goya y Lucientes, Francisco Jose de (1746-1828); 22.6x14.6 cm; Private Collection; (add.info)

The Marquesa de Pontejos, by Goya
The Marquesa de Pontejos by Francisco Goya y Lucientes (1746-1828) - painting on canvas (1785-1790). Date: circa 1788

Ferdinand VII, king of Spain, oil by Francisco de Goya

Juan Melendez Valdes (1754-1817), Spanish poet, jurist and politician. Oil by Goya

The Duchess of Osuna, oil by Francisco de Goya

The Countess of Chinchon, oil by Francisco de Goya

Poverty, drawing No. 258 of the series of sepia gouaches by Francisco de Goya

The Hunter, tapestry made on a cardboard by Francisco de Goya

The ring-shaped pastries maker, tapestry made on a cardboard by Francisco de Goya

Meeting of witches. Drawing No. 113 of the series of sepia gouaches by Francisco de Goya

Duke of San Carlos, 1815, oil painting by Francisco de Goya

The travelling comedians, 1793, oil painting by Francisco de Goya

Dancing on the banks of Manzanares river, 1777, oil painting by Francisco de Goya

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Lucientes, a name that resonates with the artistic genius of Francisco de Goya. Known for his captivating and often haunting works, Goya's artistry transcends time and leaves an indelible mark on the world of art. One cannot mention Lucientes without delving into the depths of Goya's masterpieces. From his chilling depiction of Saturn devouring his son to the eerie scene of The Witches Sabbath, Goya's paintings evoke a sense of unease and fascination in equal measure. In Los Caprichos, Goya explores the darker side of humanity, shedding light on societal vices and follies. His brushstrokes bring to life The Great He-Goat, a symbol of chaos and debauchery that continues to captivate audiences even today. But beyond these macabre themes lies another facet of Goya's talent - his ability to capture human emotions with profound sensitivity. In Duchesse, he portrays elegance and grace through delicate strokes, while The Drowning Dog depicts despair and helplessness in its rawest form. Glimpses into everyday life can also be found within Lucientes' collection. Reading showcases quiet introspection as a solitary figure immerses themselves in literature. Meanwhile, Hunting Party transports us back to a bygone era where nobility pursued their passion for sport amidst lush landscapes. Yet amidst all this darkness and turmoil emerges Woman in Prison - a testament to resilience and strength despite adversity. It serves as a reminder that even within confinement one can find hope and courage. Goya's legacy lives on through postcards bearing his name - reminders that his art continues to inspire generations long after his passing. His work is not merely confined within gallery walls; it has become part of our collective consciousness. So let us immerse ourselves in the enigmatic world created by Lucientes - an artist who dared to explore both lightness and darkness with equal fervor.