Francisco Goya

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Faceless soldiers in a line, one man in a white shirt lit by a lantern with both arms open; the provisional government that followed the French ousting bought it at Goya's own urging, and it stands among the founding pictures of modern art.

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The people of Madrid rising against the occupying French, one of the revolts that set the Peninsular War alight; its companion piece is the firing squad of the Third of May, and both were painted together in 1814.

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The old god bent over a half-eaten body; done straight onto a wall of Goya's own house between 1820 and 1823, it came off the plaster onto canvas only after he was gone, and belongs now to the Prado.

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The devil as a great goat, a moonlit shape looming above a ring of frightened crones; worked in oil on the plaster of the Quinta del Sordo, it is one of the fourteen Black Paintings.

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Nothing but a dog's head, looking up out of an emptiness that seems to be burying it; one of the Black Paintings, made on the walls of the house when Goya was in his seventies, alone and in deep trouble of mind and body.

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A naked woman at her ease on pillows, meeting the viewer's eye without a flicker; the cabinet of Manuel Godoy likely held it among his private nudes, the Inquisition later confiscated it, and the Prado has had it since 1901.

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The king and his household at full size, draped in costume and jewels with complete display; begun in 1800, the year after Goya's elevation to first chamber painter, and finished by the summer of 1801, it has never flattered them once.

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A boy holds an umbrella over a girl resting on a bench while clouds gather; painted as one of a run of designs meant to be woven and hung at the Royal Palace of El Pardo, and kept today beside Blind Man's Bluff in the Prado.

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The reception piece with which Goya was made an academician of San Fernando: a neoclassical Christ on a black ground with no landscape, the right leg forward, owing its darkness to Velázquez and its stance to Mengs.

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A giant strides across the middle of the canvas toward the left while the country empties before him; long given to Goya, it reached the Prado in 1931 with the bequest of Pedro Fernández Durán and keeps his name, though the attribution is argued.

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A girl at a parapet under pale, new green light; held to be from the last stretch of his life and among his masterpieces, though it has been claimed for Rosario Weiss's hand, a claim generally thought unlikely.

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The actress wrapped in white satin and a black lace shawl against a brown dark; robbed twice, and a year after the second theft it passed, at least on paper, into the National Gallery of Ireland.

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The same sitter again, some years later, likely worked over the Dublin version; it lives in the Hermitage, and if it is wholly from Goya's hand it is the one Goya painting in any Russian collection.

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The three Fates with their spindle, shears and glass, adrift above a dim landscape; painted on the walls of the Quinta del Sordo between 1819 and 1823 by a man of seventy-five in despair.

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A long, dark procession straggles downhill by the river away from a hopeless horizon; the Black Painting with the most figures and the least comfort.

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Two peasants club each other in a landscape that has them buried to the knee in sand or mud; it sat in the upper room of the Quinta del Sordo.

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Blacks, ochres and reds laid on in wide, forceful strokes, an arm thrust out and holding the sword; the victim and his blood are kept out of frame, against every convention of the subject.

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Three draped figures bear a sprawled body through the night sky above a man stopping his ears; from the six witchcraft pictures the Duke and Duchess of Osuna acquired in 1798, and praised as the finest and fiercest of them.

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A blind street singer known to everyone in Madrid, his grinning face pushed up against the front of the picture; blindness and comedy in one head, a century ahead of the Expressionists.

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Young men and women circle a blindfolded player armed with a wooden spoon, one of the last of the Rococo cartoons woven for the palace of El Pardo, and the gentlest.

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Children at play on a slope, and at the front a small contented warrior staring straight out, counted among his best things; the touch and the light here run ahead of Impressionism.

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A young noblewoman of a family Goya knew, posed as a poet with her lyre in 1805; after long legal fighting the picture was bought for the Prado in 1986.

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María Teresa de Borbón, pushed by the queen and by calculation into marrying Godoy, the prime minister, a union of convenience not of affection; she sits uneasy in a vast hat, yellow gloves in her lap.