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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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Where this page got its records

  • The Metlive

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

  • Clevelandlive

    359 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. 149 matching records exist across the two collections.

Results for "Plate 55 from "The Disasters of War" (Lo"12 records

Institutions answered newest-first by record, interleaved

Plate 23 from "The Disasters of War" (Los Desastres de la Guerra): 'The Same Elsewhere' (Lo mismo en otras partes) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 23 from "The Disasters of War" (Los Desastres de la Guerra): 'The Same Elsewhere' (Lo mismo en otras partes)

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

1810 (published 1863) · Etching, drypoint, lavis, 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 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 44 from "The Disasters of War" (Los Desastres de la Guerra): 'I saw it' (Yo lo vi) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 44 from "The Disasters of War" (Los Desastres de la Guerra): 'I saw it' (Yo lo vi)

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

1810 · Etching, drypoint, burin

Cleared · Public Domain

live
The MetSimilar
Plate 21 from "The Disasters of War" (Los Desastres de la Guerra): 'It will be the same' (Será lo mismo) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 21 from "The Disasters of War" (Los Desastres de la Guerra): 'It will be the same' (Será lo mismo)

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

ca. 1810 · Etching (before lavis is added)

Cleared · Public Domain

live
The MetSimilar
Plate 21 from "The Disasters of War" (Los Desastres de la Guerra): 'It will be the same' (Será lo mismo) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 21 from "The Disasters of War" (Los Desastres de la Guerra): 'It will be the same' (Será lo mismo)

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

ca. 1810 (published 1863) · Etching, burnished lavis

Cleared · Public Domain

live
The MetSimilar
Plate 23 from "The Disasters of War" (Los Desastres de la Guerra): 'The Same Elsewhere' (Lo mismo en otras partes) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 23 from "The Disasters of War" (Los Desastres de la Guerra): 'The Same Elsewhere' (Lo mismo en otras partes)

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

ca. 1810 · Etching, drypoint, burin (proof impression)

Cleared · Public Domain

live
The MetSimilar
Plate 29 from "The Disasters of War" (Los Desastres de la Guerra): 'He deserved it' (Lo merecia) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 29 from "The Disasters of War" (Los Desastres de la Guerra): 'He deserved it' (Lo merecia)

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

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

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
Plate 44 from "The Disasters of War" (Los Desastres de la Guerra): 'I saw it' (Yo lo vi) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 44 from "The Disasters of War" (Los Desastres de la Guerra): 'I saw it' (Yo lo vi)

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

1810 (published 1863) · Etching, drypoint, burin

Cleared · Public Domain

live
The MetSimilar
Plate 44 from "The Disasters of War" (Los Desastres de la Guerra): I saw it (Yo lo vi) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 44 from "The Disasters of War" (Los Desastres de la Guerra): I saw it (Yo lo vi)

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

1810 (published 1863) · Etching, drypoint, burin

Cleared · Public Domain

live
The MetSimilar
Plate 55 from "The Disasters of War" (Los Desastres de la Guerra): 'The worst is to beg' (Lo peor es pedir) by Goya (Francisco de Goya y Lucientes), The Metropolitan Museum of Art

Plate 55 from "The Disasters of War" (Los Desastres de la Guerra): 'The worst is to beg' (Lo peor es pedir)

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

1811–12 (published 1863) · Etching, lavis, burnisher

Cleared · Public Domain

live
The MetSimilar

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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

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