Allan Braham, 1966a: Goya’s Portrait of the Duke of Wellington in the National Gallery. The Burlington Magazine, 108, 78–83.
——, 1966b: Goya’s Equestrian Portrait of the Duke of Wellington. The Burlington Magazine, 108, 618–621.
Association of Art Historians, 1988: Painters ‘Born under Saturn’: The Physiological Explanation. Art history, 11.
Baticle, J., 1984: Goya et la Junte des Philippines. La revue du Louvre et des musées de France, 2.
Baticle, J.,: Goya: painter of terror and splendour. Thames and Hudson.
Bird, W., 2000: Two rumours concerning the Duchess of Alba: Volaverunt and Sueño de la Mentira y Ynconstancia. Gazette des beaux-arts, 136.
Bird, W., 2004: Oh Monstrous Lamp! Special effects in Goya’s ‘A Scene from El Hechizado por Fuerza’ in the National Gallery, London. Apollo.
Bray, X., 1 AD: Goya ‘Family of the Infante Don Luis’ from Parma Exhibition: Catalogue to the National Gallery Exhibition (National Gallery London). National Gallery Company Ltd.
Bray, Xavier Immanuel., 2000: Royal Religious Commissions as Political Propaganda in Spain under Charles III (1759-1788). Trinity College Dublin.
Brown, J., S. G. Galassi, and Frick Collection, 2006a: Goya’s last works. Yale University Press.
——, ——, and ——, 2006b: Goya’s last works. Yale University Press.
Carretero, C. H., 2002: An Introduction to Goya’s Cartoons and Tapestries. Goya: images of women, National Gallery of Art.
Ciofalo, J. J., 2001a: The self-portraits of Francisco Goya. Cambridge University Press.
——, 2001b: The self-portraits of Francisco Goya. Cambridge University Press.
Crowe, Ann Glenn, 1989a: The art of Goya and the Duchess of Alba (1792-1802): Minor themes and major variations. Stanford University, http://search.proquest.com.idpproxy.reading.ac.uk/docview/303796836?pq-origsite=summon&accountid=13460.
——, 1989b: The art of Goya and the Duchess of Alba (1792-1802): Minor themes and major variations. Stanford University, http://search.proquest.com.idpproxy.reading.ac.uk/docview/303796836?pq-origsite=summon&accountid=13460.
Doing Goya Justice: The Curator’s Story, 2015.
Eisenmann, S., 2011: The Tensions of Enlightenment: Goya. Nineteenth century art: a critical history, Thames & Hudson, 86–105.
Enriqueta Harris, 1990: Goya’s Majas at the National Gallery. National Gallery Publications.
Fauque, J., and R. Villanueva Etcheverría, 1982: Goya y Burdeos, 1824-1828. Ediciones Oroel.
Gassier, P., J. Wilson, and F. Lachenal, 1971: Goya: his life and work, with a catalogue raisonné of the paintings, drawings and engravings. Thames and Hudson.
Glendinning, N., 1977a: The interpretation of Goya’s black paintings. Queen Mary College, University of London.
Glendinning, N., 1977b: Goya and his critics. Yale University Press.
Glendinning, N., 2005: Goya’s ‘Black Paintings’ and the wallpaper mystery. The wallpaper history review., 30–33.
Glendinning, N.,: Goya’s Equestrian portrait of the Duke of Wellington. InformArtes: Newsletter of ARTES Iberian & Latin American Visual Culture Group, 9–11.
Glendinning, N., and R. Kentish, 1986: Goya’s Country House in Madrid: the Quinta del Sordo. Apollo.
Gonzalo M., and Juan, 2006: The paintings by Goya in San Antonio de la Florida. Alcobendas.
Goya, F., J. Sureda, and Museo de Zaragoza, 2008a: Goya & Italy. Turner.
——, ——, and ——, 2008b: Goya & Italy. Turner.
——, and Coauthors, 2014a: Goya: order & disorder. First edition. MFA Publications.
——, and Coauthors, 2014b: Goya: order & disorder. First edition. MFA Publications.
——, and Coauthors, 2014c: Goya: order & disorder. First edition. MFA Publications.
——, X. Bray, M. Mena, T. Gayford, A. Goudie, and F. Goya, 2015a: Goya: the portraits. J. Wilson-Bareau, Ed. National Gallery Company.
——, ——, ——, ——, ——, and ——, 2015b: Goya: the portraits. J. Wilson-Bareau, Ed. National Gallery Company.
——, ——, ——, ——, ——, and ——, 2015c: Goya: the portraits. J. Wilson-Bareau, Ed. National Gallery Company.
——, ——, ——, ——, ——, and ——, 2015d: Goya: the portraits. J. Wilson-Bareau, Ed. National Gallery Company.
——, ——, ——, ——, ——, and ——, 2015e: Goya: the portraits. J. Wilson-Bareau, Ed. National Gallery Company.
Havard, R., 2005: Goya’s House Revisited: Why a Deaf Man Painted his Walls Black. Bulletin of Spanish Studies, 82, 615–639, https://doi.org/10.1080/1475382052000344174.
Heckes, F. I., 1996: Goya’s Colossi: Images and Reflections on Spain’s War of Independence. Gazette des beaux-arts, 127.
Heckes, Frank Irving, 1985a: Supernatural themes in the art of Francisco De Goya. University of Michigan, http://search.proquest.com.idpproxy.reading.ac.uk/docview/303379863?pq-origsite=summon&accountid=13460.
——, 1985b: Supernatural themes in the art of Francisco De Goya. (Volumes I and II) (Spain), http://search.proquest.com.idpproxy.reading.ac.uk/docview/303379863?pq-origsite=summon&accountid=13460.
Held, J., 1987: Between Bourgeois Enlightenment and Popular Culture: Goya’s Festivals, Old Women, Monsters and Blind Men. History Workshop Journal, 23, 39–58.
Helston, M. and National Gallery (Great Britain), 1989: Painting in Spain during the later eighteenth century. National Gallery Publications.
Hughes, R., 2003: Goya. Harvill.
Jordan, William B., 1995: Spanish still life from Velázquez to Goya. National Gallery Publications.
Junquera, J. J., 2003: The black paintings of Goya. Scala.
Karlen, A., 1985: What killed Francisco Goya? MD magazine.
Klein, P., 1 AD: Insanity and the Sublime: Aesthetics and Theories of Mental Illness in Goya’s ‘Yard with Lunatics’ and Related Works. Journal of the Warburg and Courtauld Institutes, 61.
Klingender, F. D., and H. Read, 1968: Goya in the democratic tradition. New ed. Sidgwick & Jackson.
La técnica de Goya en ‘La gallina ciega’, 14 AD.
Lafuente Ferrari, E., 1955: Goya: the frescos in San Antonio de la Florida in Madrid. Skira.
Lafuente Ferrari, E., 1973: Goya-The Second of May and the Executions. Goya in perspective, Vol. Artists in perspective series of, Prentice-Hall, 71–91.
Lee, S., 2014: Promenades in Enlightenment Madrid - The Tapestry Cartoons and new social spaces. The Flâneur abroad: historical and international perspectives, Cambridge Scholars Publishing, 66–93.
——, 2017: ‘King Ferdinand’s Veto: Goya’s 2nd and 3rd May 1808 as Patriotic Failures’. Visual culture and the Revolutionary and Napoleonic Wars, S. Padiyar, P. Shaw, and P. Simpson, Eds, Routledge, 120–136.
——,: Goya’s Santa Cueva re-visited. Apollo.
Licht, F., 1973: Goya’s Portrait of the Royal Family. Goya in perspective, Vol. Artists in perspective series of, Prentice-Hall.
——, F. Goya, and F. Licht, 2001a: Goya. 1st ed. Abbeville Press.
——, ——, and ——, 2001b: Goya. 1st ed. Abbeville Press.
——, ——, and ——, 2001c: Goya. 1st edition. Abbeville Press.
López-Rey, J., 1973: Goya’s Caprichos; Beauty, Reason, and Caricature. Goya in perspective, Vol. Artists in perspective series of, Prentice-Hall, 114–137.
Luxenberg, A., 2002: Further Light on the Critical Reception of Goya’s ‘Family of Charles IV’ as Caricature. Artibus et Historiae, 23, https://doi.org/10.2307/1483705.
Macartney, H., 2007: Stirling, Ford, and Nineteenth-Century Reception of Goya: The Case of the                              : ‘Abomination’ or ‘Appropriate Composition’? Hispanic Research Journal, 8, 425–444.
Making the most of your online reading lists,.
Mena, M. and Museo del Prado, 2000a: Goya and 18th-century Spanish painting: guide. [English ed.]. Prado Museum.
—— and ——, 2000b: Goya and 18th-century Spanish painting: guide. [English ed.]. Prado Museum.
—— and ——, 2000c: Goya and 18th-century Spanish painting: guide. [English ed.]. Prado Museum.
—— and ——, 2000d: Goya and 18th-century Spanish painting: guide. [English ed.]. Prado Museum.
Mena Marques, M., 2004: Goya, a Free ’Disciple of Velázquez. The Spanish portrait, Scala, 200–229.
Mississippi Commission for International Cultural Exchange and Mississippi Arts Pavilion, 2001: The majesty of Spain: royal collections from the Museo del Prado and the Patrimonio Nacional. Mississippi Commission for International Cultural Exchange.
Muller, P., 1970: Goya’s The Family of Charles IV. An Interpretation. Apollo, 133–137.
Muller, P. E., 1984a: Goya’s ‘black’ paintings: truth and reason in light and liberty. Hispanic Society of America.
——, 1984b: Goya’s ‘black’ paintings: truth and reason in light and liberty. Hispanic Society of America.
Nigel Glendinning, 1975: The Strange Translation of Goya’s ‘Black Paintings’. The Burlington Magazine, 117, 464–479.
Nordström, F., 1962a: Goya, Saturn, and melancholy: studies in the art of Goya. Almqvist & Wiksell.
Nordström, F., 1962b: ‘The Executions of the Third of May 1808 in Madrid’. Goya, Saturn, and melancholy: studies in the art of Goya, Vol. Acta Universitatis Upsaliensis. Figura of, Almqvist & Wiksell, 172–184.
Nordström, F., 1962c: Las Pinturas Negras in the Dining Room of the Quinta del Sordo. Goya, Saturn, and melancholy: studies in the art of Goya, Vol. Acta Universitatis Upsaliensis. Figura of, Almqvist & Wiksell, 185–221.
Olszewski, E. J., 1999: Exorcising Goya’s ‘The Family of Charles IV’. Artibus et Historiae, 20, https://doi.org/10.2307/1483673.
Pérez Sánchez, A. E., E. A. Sayre, Museo del Prado, Museum of Fine Arts, Boston, and Metropolitan Museum of Art (New York, N.Y.), 1989a: Goya and the spirit of enlightenment. Museum of Fine Arts.
——, ——, ——, ——, and ——, 1989b: Goya and the spirit of enlightenment. Museum of Fine Arts.
——, ——, ——, ——, and ——, 1989c: Goya and the spirit of enlightenment. Museum of Fine Arts.
——, ——, ——, ——, and ——, 1989d: Goya and the spirit of enlightenment. Museum of Fine Arts.
——, ——, ——, ——, and ——, 1989e: Goya and the spirit of enlightenment. Museum of Fine Arts.
Priscilla E. Muller,: Goya, Francisco de. Grove Art Online.
Salomon, X. F., 2014: Goya and the Altamira Family. The Metropolitan Museum of Art Bulletin, 71.
Schulz, A., 1998: The Expressive Body in Goya’s Saint Francis Borgia at the Deathbed of an Impenitent. The Art Bulletin, 80, https://doi.org/10.2307/3051318.
——, 2000: Satirizing the Senses: the representation of perception in Goya’s Los Caprichos. Art history, 23.
——, 2003: Goya’s portraits of the Duchess of Osuna : fashioning identity in enlightenment Spain. Women, art and the politics of identity in eighteenth-century Europe, Vol. Women and gender in the early modern world of, Ashgate, 263–283.
Sontag, S., 2003: Regarding the pain of others. Farrar, Straus and Giroux.
Susan Strauber, 2004: I Saw It. Faulconer Gallery, Grinnell College.
Symmons, S., 1988a: Goya: in pursuit of patronage. Fraser.
——, 1988b: Goya: in pursuit of patronage. Fraser.
——, 1988c: Goya: in pursuit of patronage. Fraser.
——, 1988d: Goya: in pursuit of patronage. Fraser.
——, 1988e: Goya: in pursuit of patronage. Fraser.
——, 1999: Printing the Unprintable : The Bicentenary of Goya’s Caprichos. Palladian Press.
——, and F. Goya, 1998a: Goya. Phaidon.
——, and ——, 1998b: Goya. Phaidon.
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——, and ——, 1998n: Goya. Phaidon.
——, and ——, 1998o: Goya. Phaidon.
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Tomlinson, J. A., 1989: Francisco Goya: the tapestry cartoons and early career at the court of Madrid. Cambridge University Press.
——, 1992a: Goya in the twilight of Enlightenment. Yale University Press.
——, 1992b: Goya in the twilight of Enlightenment. Yale University Press.
——, 1992c: Goya in the twilight of Enlightenment. Yale University Press.
——, 1992d: Goya in the twilight of Enlightenment. Yale University Press.
——, 1992e: Goya in the twilight of Enlightenment. Yale University Press.
——, 1992f: Goya in the twilight of Enlightenment. Yale University Press.
——, and F. Goya, 1994a: Francisco Goya y Lucientes, 1746-1828. Phaidon Press.
——, and ——, 1994b: Francisco Goya y Lucientes, 1746-1828. Phaidon Press.
——, and ——, 1994c: Francisco Goya y Lucientes, 1746-1828. Phaidon Press.
Von Barghahn, B., 1993: Goya’s dark crucible : amalgams of ambiguity (The Black Paintings). Gazette des beaux-arts.
Waldmann, S., 1998: Goya and the Duchess of Alba. Prestel.
Wilson-Bareau, J. and British Museum, 1996a: Goya’s prints: the Tomás Harris Collection in the British Museum. reprinted, with revisions. British Museum Press.
—— and ——, 1996b: Goya’s prints: the Tomás Harris Collection in the British Museum. reprinted, with revisions. British Museum Press.
——, M. Mena, Museo del Prado, Royal Academy of Arts, and Art Institute of Chicago, 1994a: Goya: truth and fantasy: the small paintings. Yale University Press.
——, ——, ——, ——, and ——, 1994b: Goya: truth and fantasy: the small paintings. Yale University Press.
——, ——, ——, ——, and ——, 1994c: Goya: truth and fantasy: the small paintings. Yale University Press.
——, ——, ——, ——, and ——, 1994d: Goya: truth and fantasy: the small paintings. Yale University Press.
——, ——, ——, ——, and ——, 1994e: Goya: truth and fantasy: the small paintings. Yale University Press.
Wolf, R., F. Goya, and Boston College. Museum of Art, 1991: Goya and the satirical print in England and on the Continent, 1730 to 1850. David R. Godine in association with Boston College Museum of Art.