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OpenPlate

Rights clearance desk for images

A painting can be out of copyright and thephotograph of it can still be protected.

Museums publish two different things about the same artwork: whether the work is in copyright, and whether their picture of it is. OpenPlate reads both, does the arithmetic on the published term, and shows you the sentence behind every point of the score.

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Open the docketStar on GitHub

Where this page got its records

  • The Metlive

    7131 ms. The Metropolitan Museum of Art, Collection API (Open Access)

  • Clevelandlive

    429 ms. The Cleveland Museum of Art, Open Access API

Your defaults

United States, editorial use, 10,000 reach.

Change on the terms page

2 of 2 providers answered live. 215 matching records exist across the two collections.

Results for "Plate 3 from "The Disasters of War" (Los"11 records

Institutions answered newest-first by record, interleaved

Plate 28 from "The Disasters of War" (Los Desastres de la Guerra): 'Rabble' (Populacho) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 28 from "The Disasters of War" (Los Desastres de la Guerra): 'Rabble' (Populacho)

Goya (Francisco de Goya y Lucientes) (d. 1828)

ca. 1810 (published 1863) · Etching, lavis, drypoint, burin, burnisher

Cleared · Public Domain

live
The MetSimilar
Plate 13 from "The Disasters of War" (Los Desastres de la Guerra): 'Bitter to be Present' (Amarga presencia) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 13 from "The Disasters of War" (Los Desastres de la Guerra): 'Bitter to be Present' (Amarga presencia)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810 · Etching, burin

Cleared · Public Domain

live
The MetSimilar
Plate 26 from "The Disasters of War" (Los Desastres de la Guerra): 'One can't look' (No se puede mirar) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 26 from "The Disasters of War" (Los Desastres de la Guerra): 'One can't look' (No se puede mirar)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810 (published 1863) · Etching, burnished lavis, drypoint, burin

Cleared · Public Domain

live
The MetSimilar
Plate 27 from "The Disasters of War" (Los Desastres de la Guerra): 'Charity' (Caridad) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 27 from "The Disasters of War" (Los Desastres de la Guerra): 'Charity' (Caridad)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810 · Etching, drypoint, burin (proof impression)

Cleared · Public Domain

live
The MetSimilar
Plate 27 from "The Disasters of War" (Los Desastres de la Guerra): 'Charity' (Caridad) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 27 from "The Disasters of War" (Los Desastres de la Guerra): 'Charity' (Caridad)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810 (published 1863) · Etching, lavis, drypoint, burin, burnisher

Cleared · Public Domain

live
The MetSimilar
Plate 3 from "The Disasters of War" (Los Desastres de la Guerra): 'The same' (Lo mismo) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 3 from "The Disasters of War" (Los Desastres de la Guerra): 'The same' (Lo mismo)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810 (published 1863) · Etching, lavis, drypoint, burin, burnisher

Cleared · Public Domain

live
The MetSimilar
Plate 30 from "The Disasters of War" (Los Desastres de la Guerra): 'Ravages of War' (Estragos de la guerra) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 30 from "The Disasters of War" (Los Desastres de la Guerra): 'Ravages of War' (Estragos de la guerra)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810 · Etching, drypoint, burin, burnisher

Cleared · Public Domain

live
The MetSimilar
Plate 32 from "The Disasters of War" (Los Desastres de la Guerra): 'Why?' (Por qué?) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 32 from "The Disasters of War" (Los Desastres de la Guerra): 'Why?' (Por qué?)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810 (published 1863) · Etching, lavis, drypoint, burin, burnisher

Cleared · Public Domain

live
The MetSimilar
Plate 38 from "The Disasters of War" (Los Desastres de La Guerra): Barbarians! (Bárbaros!) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 38 from "The Disasters of War" (Los Desastres de La Guerra): Barbarians! (Bárbaros!)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810 (published 1863) · Etching, burnished aquatint, burin, burnisher

Cleared · Public Domain

live
The MetSimilar
Plate 56, To the cemetery (Al cementerio), from "The Disasters of War" (Los Desastres de la Guerra) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 56, To the cemetery (Al cementerio), from "The Disasters of War" (Los Desastres de la Guerra)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1810–11 · Etching, lavis, drypoint

Cleared · Public Domain

live
The MetSimilar
Plate 77 from "The Disasters of War" (Los Desastres de la Guerra): 'May the cord break' (Que se rompe la cuerda) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 77 from "The Disasters of War" (Los Desastres de la Guerra): 'May the cord break' (Que se rompe la cuerda)

Goya (Francisco de Goya y Lucientes) (d. 1828)

1814–15 (published 1863) · Etching, burnished aquatint, drypoint

Cleared · Public Domain

live
The MetSimilar

1. Pin the work

Choose the record and say what you are actually going to do with it. The product re-reads the work live and stores a snapshot, so your docket records what the institution said today.

2. Read the arithmetic

Six weighted factors: the institution's own claim, the creator's term, the publication-age rule, the restrictions in their statement, your use, and whether a credit line is even possible.

3. Seal and export

Record the decision into a SHA-384 chain, then export a dated docket as JSON, CSV or Markdown with the credit line and the seal a colleague can re-verify.