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Christ Crucified (Spanish: Cristo crucificado) is a 1780 oil-on-canvas painting of the crucifixion of Jesus by Spanish Romantic painter Francisco de Goya. He presented it to the Real Academia de Bellas Artes de San Fernando as his reception piece as an academic painter. It now forms part of the permanent collection of the Prado Museum in Madrid.
1779 to 1780 Private collection 86.5 x 59 The lumberjacks (in Spanish) 1780 Museo del Prado, Madrid 141 x 114 The bullfight (in Spanish) 1780 Museo del Prado, Madrid 259 x 136 Christ Crucified: 1780 Museo del Prado, Madrid 255 x 154 Ecstasy of Saint Anthony the Great (in Polish) 1780 Zaragoza Museum: 67 x 46 Portrait of Martín Zapater: 1780
A Procession of Flagellants. A Procession of Flagellants (Procesión de disciplinantes, or Procesión de flagelantes) is an oil-on-panel painting produced by Francisco de Goya between 1812 and 1819. In the foreground is a procession of Roman Catholic men dressed in white, wearing pointed hats and whipping their bared backs in penitence.
Location. Museo del Prado, Madrid. Pilgrimage to the Fountain of San Isidro or The Holy Office ( Spanish: Peregrinación a la fuente de San Isidro or El Santo Official[ 1]) are names given to an oil mural by the Spanish artist Francisco Goya (1746–1828), probably completed between 1821 and 1823. The mural is one of the fourteen Black ...
The Third of May 1808 in Madrid (also known as El tres de mayo de 1808 en Madrid or Los fusilamientos de la montaña del Príncipe Pío, [2] or Los fusilamientos del tres de mayo. Commonly known as The Third of May 1808.) [1] is a painting completed in 1814 by the Spanish painter Francisco Goya, now in the Museo del Prado, Madrid.
Christ Crucified may refer to: Christ Crucified (Goya) , a 1780 painting by Francisco de Goya Christ Crucified (Velázquez) , a 1632 painting by Diego Velázquez
Goya finds it unnecessary to look at the canvas while he paints; inspiration alone guides his brush. Goya stands aside, and is indeed enveloped by, a grandly lit window like the one that serves as a metaphor for Christ's holiness in Leonardo da Vinci's Last Supper, and moreover, one through which the natural world is decidedly not visible. The ...
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