Al toro y al aire darles calle (Make Way for Bulls and Wind), unpublished plate from Los Proverbios (The Proverbs)

Minneapolis Institute of Art

Al toro y al aire darles calle (Make Way for Bulls and Wind), unpublished plate from Los Proverbios (The Proverbs)

Francisco José de Goya y LucientesLinkedCulture matchlcp-637ac1088cb7

From the Minneapolis Institute of Art record

Francisco Goya (1746-1828) was an acclaimed 18th-century Spanish artist, internationally known for his remarkable achievements as both a painter and printmaker. Appointed painter to the Spanish court of Charles IV, Goya spent much of his career painting portraits for royalty and the nobility. Despite his official position with the court, his portraiture has been recognized as a form of history painting, at once subjective and subversive. Disillusioned by the excesses and brutality of the Spanish political and religious authorities, Goya turned against his patrons and produced daring condemnations of the regime and its supporters. He also produced a number of compelling and introspective self-portraits, including a famous self-portrait in which he depicts himself in the throes of a serious illness, being held and comforted by his physician, a painting that is part of Mia's permanent collection. In addition to his achievements as a painter, Goya was a prolific printmaker, whose powerful draftsmanship and inventive compositions are valued both for their artistic merit and biting satirical content. To this end, he often used animals and other fanciful creatures to lampoon the foibles and reveal the evil behaviors of mankind. He produced more than 220 etchings and lithographs during his lifetime, many remaining unpublished until after his death because of their harsh commentary on the political, social, and religious institutions of his day. His major publications include Los Caprichos (The Caprices, 1799), a series of 80 etchings and aquatints that ridicule the failings of Spanish society and its leaders; Los Desastres de la Guerre (The Disasters of War, 1810-20, published 1863), a fervent and graphic condemnation of the futility and brutality of warfare; and Los Proverbios (The Proverbs, published 1864), a series of 18 etchings and aquatints satirizing the foibles of human behavior. Indeed, in the pantheon of the world's greatest printmakers, Goya is frequently mentioned, along with Rembrandt, as one of the two most important etchers in history. Spain, Europe

LinkedCulture assembled this text from several fields of Minneapolis Institute of Art’s catalogue record, so it is not the museum’s own wording as published. See “How LinkedCulture maps this record” below.

Minneapolis Institute of Art’s catalogue record

Dated
c. 1824 (published 1877)
Artist
Francisco José de Goya y Lucientes
Department
European Art
Credit
The Richard Lewis Hillstrom Fund
Medium
Etching, aquatint, and drypoint in sienna ink

Taken from LinkedCulture’s stored copy of Minneapolis Institute of Art’s record. A fresh capture of the museum’s own record has not been made for this object yet.

From LinkedCulture

Around 1824, Francisco Goya printed this image of three bulls crashing across a near-black ground, with a fourth creature hurled upward and inverted in the upper right corner, all human presence stripped away. Made in etching, aquatint, and drypoint in warm sienna ink, it belongs to his series Los Proverbios, plates so politically charged they stayed unpublished until 1877. This print survives as a rare, direct record of the freedom Goya allowed himself in exile, writing for no one's approval but his own.

Written by LinkedCulture for its video on this object. Machine-generated (claude-sonnet-4-6), not yet reviewed by a person. It is not part of the museum’s record.

What the image shows

Four bulls are depicted in dynamic motion against a dark background.

Generated by LinkedCulture from the photograph alone, without the museum’s catalogue text (Qwen/Qwen2.5-VL-7B-Instruct), and not yet reviewed by a person. It describes the picture, not the object’s history, and it is not part of the museum’s record.

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How LinkedCulture maps this record

To search objects from different museums together, LinkedCulture reads each museum’s record into a common set of fields. The values below are LinkedCulture’s, under LinkedCulture’s names. They are not Minneapolis Institute of Art’s wording; the museum’s own record is shown above under its own labels.

Object ID
104139
Object Type
Prints
  • Minneapolis Institute of Art field “Classification” · the first available of several museum fields
  • Minneapolis Institute of Art field “Object Name” · the first available of several museum fields
Creator
Francisco José de Goya y Lucientes
  • Minneapolis Institute of Art field “Artist” · copied as is
Medium
Etching, aquatint, and drypoint in sienna ink
  • Minneapolis Institute of Art field “Medium” · copied as is
Department
European Art
  • Minneapolis Institute of Art field “Department” · copied as is
Credit Line
The Richard Lewis Hillstrom Fund
  • Minneapolis Institute of Art field “Credit” · copied as is
Date
c. 1824 (published 1877)
  • Minneapolis Institute of Art field “Dated” · copied as is
Begin Year
1824
  • Minneapolis Institute of Art field “Dated” · derived by LinkedCulture from the museum field
End Year
1824
  • Minneapolis Institute of Art field “Dated” · derived by LinkedCulture from the museum field

The museum’s own record has not been captured for this object yet, so the museum fields shown above are limited to values LinkedCulture stored unchanged.

LinkedCulture video

Al toro y al aire darles calle (Make Way for Bulls and Wind), unpublished plate from Los Proverbios (The Proverbs)

Nov 5, 2026 · Short

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