Jean Antoine Watteau, Head of a Man, c. 1718, Red and black chalk, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334650 Francisco Goya, Francesco Goya y Lucientes, Pintor (Francesco Goya y Lucientes, Painter), published 1799, etching, aquatint, drypoint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7451 Francisco Goya, Modo de volar (A Way of Flying), published 1864, etching, aquatint, and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7629 Francisco Goya, The Garroted Man, in or before 1780, etching and (burin?) on smooth wove paper [second edition impression printed about 1830], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7448 Francisco Goya, Volaverunt (They Have Flown), published 1799, etching, aquatint, and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7479 Francisco Goya, Y esto tambien (And This Too), published 1863, etching, aquatint or lavis, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7593 François Boucher, Tête-à-tête, 1764, black chalk heightened with white on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1835 François Boucher, Soldat Chinois, 1738–1745, Etching on laid paper, Cooper Hewitt, Smithsonian Design Museum, New York, N.Y. https://dartabase.art/cite/smithsonian/ld1-1643399887910-1643399896997-0 Francisco Goya, Y son fieras (And They Are Like Wild Beasts), published 1863, etching, burnished aquatint, and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7550 Jean Antoine Watteau, Two Studies of a Dancer, Raising Her Skirt in Her Two Hands, 1712/13, Red chalk on cream laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/158393 Francisco Goya, Yo lo vi (I Saw It), published 1863, etching, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7590 Francisco Goya, Por que? (Why?), published 1863, etching, lavis, drypoint, burin, and burnisher, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7554 Jean Honoré Fragonard, Nymph Astride a Satyr (Jeune fille a califourchon sur un satyre), 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7284 Francisco Goya, Überfall auf eine Frau, 1810–1812, Kiefernholz, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/1964 Francisco Goya, Nada (Nothing), 1810/1820, etching, aquatint and lavis with burnishing (proof) on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7635 Jean Antoine Watteau, Study for "The Romancer" (Le Conteur), c. 1716, red chalk; red and black chalk (upper left figure), Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/110060 Jean Honoré Fragonard, The Satyrs' Dance (Danse de satyres), 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2935 Francisco Goya, No se convienen (They Do Not Agree), published 1863, etching, drypoint, burin, and burnisher, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7586 Francisco Goya, Si amanece; nos vamos (When Day Breaks We Will Be Off), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7509 Francisco Goya, Duendecitos (Hobgoblins), published 1799, etching and burnished aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7520 François Boucher, Apollo and Clytie, 1747–67, Wool, silk, tapestry weave, Minneapolis Institute of Art, Minneapolis. https://dartabase.art/cite/mia/42.16 Jean Antoine Watteau, Stehende männliche Figur (Bildnis des Nicolas Vleughels), c. 1718–1719, Rötel und Bleigriffel, Einfassungslinie mit der Feder in Braun (Tinte), auf geripptem Büttenpapier, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/8040 Francisco Goya, Bartolomé Sureda y Miserol, c. 1803/1804, oil on canvas, National Gallery of Art, Washington. https://dartabase.art/cite/nga/985 Francisco Goya, Y no hai remedio (And There's No Help for It), published 1863, etching, drypoint, burin, and burnisher, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7580 Francisco Goya, El amour y la muerte (Love and Death), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7480 Jean Honoré Fragonard, Le concours/Kinderszene: Wettbewerb oder Unterweisung im Lesen, c. 1780–1785, Aquarell über schwarzer Kreide, grau und braun laviert, auf geripptem Büttenpapier, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/7431 Francisco Goya, Que viene el coco (Here Comes the Bogey-Man), published 1799, etching and burnished aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7459 Jean Honoré Fragonard, Nymph Supported by Two Satyrs (Nymphe s'asseyant sur les mains de deux satyres), 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7282 Francisco Goya, Bullfight in a Divided Ring, 1825, lithograph on wove paper [edition impression printed by Gaulon in Bordeaux in 1825], National Gallery of Art, Washington. https://dartabase.art/cite/nga/746 Jean Honoré Fragonard, The Little Park (Le petit parc), c. 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2966 Francisco Goya, Tanto y mas (Even Worse), published 1863, etching, lavis, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7601 Jean Antoine Watteau, Die Einschiffung nach Kythera, c. 1709–1710, Öl auf Leinwand, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/2134 Francisco Goya, Gewaltszene gegen zwei Frauen, 1810–1812, Kiefernholz, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/1965 François Boucher, The Presentation in the Temple, c. 1770, pen and brown ink, brush and brown wash, and black chalk, heightened with white paint; framing lines in pen and brown ink, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/107008 Francisco Goya, Quien lo creyera! (Who Would Have Thought It!), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7482 Jean Honoré Fragonard, Invocation to Love, c. 1781, Brush and brown wash with graphite squaring lines and underdrawing on cream laid paper, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/123431 Francisco Goya, Isabel de Borbon, 1778, etching and drypoint on heavy laid paper [first edition impression printed in the Calcografia in 1778-79], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7446 François Boucher, Drawing for "La Colonne Trajane", 18th century, Red chalk, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334847 François Boucher, Aurora and Cephalus, c. 1766, brown chalk with stumping on light beige laid paper, with later framing line in brown ink, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2156 Francisco Goya, Dibersion de España (Spanish Entertainment), 1825, lithograph on wove paper [edition impression printed by Gaulon in Bordeaux in 1825], National Gallery of Art, Washington. https://dartabase.art/cite/nga/745 François Boucher, The Chinese Fair, designed 1742 (woven 1743–1745), Wool, silk, tapestry weave, Minneapolis Institute of Art, Minneapolis. https://dartabase.art/cite/mia/45.14 Jean Honoré Fragonard, The Satyr's Family (La famille du satyre), 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2933 Francisco Goya, Nadie nos ha visto (No One Has Seen Us), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7454 François Boucher, Die Wasserfälle von Tivoli, 1730, Schwarze und weiße Kreide auf blauem Büttenpapier, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/8049 Francisco Goya, Por que fue sensible (Because She Was Susceptible), published 1799, lift-ground aquatint and aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7469 Francisco Goya, El famoso Americano, Mariano Ceballos (The Famous American, Mariano Ceballos), 1825, lithograph on wove paper [edition impression printed by Gaulon in Bordeaux in 1825], National Gallery of Art, Washington. https://dartabase.art/cite/nga/743 Francisco Goya, Thérèse Louise de Sureda, c. 1803/1804, oil on canvas, National Gallery of Art, Washington. https://dartabase.art/cite/nga/991 Francisco Goya, No se puede mirar (One Can't Look), published 1863, etching, burnished lavis, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7613 François Boucher, Drawing for "La Colonne Trajane", 18th century, Red chalk, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334848 Francisco Goya, Fuerte cosa es! (That's Tough!), published 1863, etching, burnished aquatint, and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7551 Jean-Marc Nattier, Bildnis der Anna Elisabeth Leerse (1698-1776), 1749, Öl auf Leinwand, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/1198 Francisco Goya, Linda maestra! (Pretty Teacher!), published 1799, etching, burnished aquatint, and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7500 Jean-Marc Nattier, Portrait of a Woman, c. 1748, oil on canvas, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/125951 Jean Honoré Fragonard, Nymph Astride a Satyr, 1763, Etching, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334643 Francisco Goya, A caza de dientes (Out Hunting for Teeth), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7486 Jean Honoré Fragonard, Nymph Supported by Two Satyrs, 1763, Etching, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334641 Francisco Goya, Isabel de Borbon, 1778, printed later, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7445 Jean Honoré Fragonard, The Satyrs' Dance, 1763, Etching, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334644 Francisco Goya, Que valor! (What Courage!), published 1863, etching, aquatint, drypoint, engraving, and burnishing, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7556 Jean-Marc Nattier, Portrait of a Woman and her Dog, 1750, oil on canvas, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.895 Francisco Goya, Tal para qual (Two of a Kind), in or before 1799, etching retouched with stumped black chalk on laid paper [proof before letters], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7637 Francisco Goya, Dios se lo pague a vsted (May God Repay You), probably c. 1804, etching, aquatint and drypoint on laid paper [trial proof printed posthumously before 1867], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7447 Jean Honoré Fragonard, Nymph Astride a Satyr (Jeune fille a califourchon sur un satyre), 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2934 Francisco Goya, Señora Sabasa Garcia, c. 1806/1811, oil on canvas, National Gallery of Art, Washington. https://dartabase.art/cite/nga/95 Francisco Goya, The Marquesa de Pontejos, c. 1786, oil on canvas, National Gallery of Art, Washington. https://dartabase.art/cite/nga/92 Francisco Goya, Asta su abuelo (And So Was His Grandfather), published 1799, lift-ground aquatint and aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7490 Jean-Marc Nattier, Bildnis des Frankfurter Bankiers Johann Georg Leerse (1691-1762), 1749, Öl auf Leinwand, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/1197 Francisco Goya, No se puede saber por que (One Can't Tell Why), published 1863, etching, burnished lavis, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7563 François Boucher, Fountain with Two Tritons Blowing Conch Shells, c. 1736, Black chalk with stumping, and red chalk, heightened with white chalk on beige laid paper, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/130150 Francisco Goya, Ni por esas (Neither Do These), published 1863, etching, lavis, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7568 Francisco Goya, Baco (Bacchus), 1778, etching on heavy laid paper [first edition impression printed in the Calcografia in 1778-79], National Gallery of Art, Washington. https://dartabase.art/cite/nga/742 Jean Honoré Fragonard, The Satyr's Family (La famille du satyre), 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7285 Francisco Goya, El sueño de la razon produce monstruos (The Sleep of Reason Produces Monsters), published 1799, etching and aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7502 François Boucher, Venus appuyee sur son cher Adonis ..., 1767, black and white chalk on faded blue laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2216 Francisco Goya, No te escaparas (You Will Not Escape), published 1799, etching and burnished aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7512 Francisco Goya, Margarita de Austria, 1778, etching and drypoint on heavy laid paper [first edition impression printed in the Calcografia in 1778-79], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7638 Jean-Marc Nattier, Portrait of a Woman as Diana, 1752, oil on canvas, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/122347 Francisco Goya, Quien mas rendido? (Which of Them Is the More Overcome?), published 1799, etching, aquatint, and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7452 Jean Honoré Fragonard, The Tax Collectors (Les traitants), 1778, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2967 Francisco Goya, Ni mas ni menos (Neither More nor Less), published 1799, etching, burnished aquatint, drypoint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7496 Francisco Goya, Si quebro el cantaro (Yes He Broke the Pot), 1799, etching, aquatint and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7636 François Boucher, Academic Study of a Reclining Male Nude, c. 1750, Black chalk, with stumping and touches of red chalk, heightened with white chalk, on cream laid paper, laid down on cream laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/196175 Jean Honoré Fragonard, The Armoire, 1778, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2931 Jean Honoré Fragonard, The Satyr's Family, 1763, Etching, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334642 Jean Honoré Fragonard, The Supper at Emmaus, 1760/61, Black chalk on ivory laid paper, laid down on off-white laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221187 Jean Honoré Fragonard, The Satyrs' Dance (Danse de satyres), 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7283 Jean Honoré Fragonard, Nymph Supported by Two Satyrs (Nymphe s'asseyant sur les mains de deux satyres), 1763, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2932 Francisco Goya, Picador Caught by a Bull, 1825, lithograph on wove paper [edition impression printed by Gaulon in Bordeaux in 1825], National Gallery of Art, Washington. https://dartabase.art/cite/nga/744