When Day Breaks We Will Be Off, Plate 71 — Francisco de Goya (Spanish, 1746–1828), 1799

When Day Breaks We Will Be Off, Plate 71, Francisco de Goya (Spanish, 1746–1828)

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Credit: Gift of The Print Club of Cleveland
Licence: CC0-1.0
Evidence: openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 133655 (read 2026-08-27)
Record: https://clevelandart.org/art/1956.274

Also by Francisco de Goya (Spanish, 1746–1828)

9

Young Woman (possibly a Sex Worker) with a Man (recto); Young Woman Wringing Her Hands over a Man's Naked Body (verso), Francisco de Goya (Spanish, 1746–1828) — Young Woman (possibly a Sex Worker) with a Man (recto); Young Woman Wringing Her Hands over a Man's Naked Body (verso)Francisco de Goya (Spanish, 1746–1828)1796–97Cleveland Museum of Art

Prostitute Soliciting a Fat, Ugly Man, Folio 49 (recto), Francisco de Goya (Spanish, 1746–1828) — Prostitute Soliciting a Fat, Ugly Man, Folio 49 (recto)Francisco de Goya (Spanish, 1746–1828)1796–97Cleveland Museum of Art

Young Woman Wringing Her Hands over a Man's Naked Body, Folio 50 (verso), Francisco de Goya (Spanish, 1746–1828) — Young Woman Wringing Her Hands over a Man's Naked Body, Folio 50 (verso)Francisco de Goya (Spanish, 1746–1828)1796–97Cleveland Museum of Art

Saint Ambrose, Francisco de Goya (Spanish, 1746–1828) — Saint AmbroseFrancisco de Goya (Spanish, 1746–1828)c. 1796–99Cleveland Museum of Art

They Spin Finely, Plate 44, Francisco de Goya (Spanish, 1746–1828) — They Spin Finely, Plate 44Francisco de Goya (Spanish, 1746–1828)1799Cleveland Museum of Art

They Have Flown, Plate 61, Francisco de Goya (Spanish, 1746–1828) — They Have Flown, Plate 61Francisco de Goya (Spanish, 1746–1828)1799Cleveland Museum of Art

A Bad Night, Plate 36, Francisco de Goya (Spanish, 1746–1828) — A Bad Night, Plate 36Francisco de Goya (Spanish, 1746–1828)1799Cleveland Museum of Art

The Proverbs: Two Heads are Better than One or Poor Folly, Francisco de Goya (Spanish, 1746–1828) — The Proverbs: Two Heads are Better than One or Poor FollyFrancisco de Goya (Spanish, 1746–1828)1816–1823 (printed c. 1863)Cleveland Museum of Art

Within fifty years of 1799

3194

AVIS AUX AMATEURS DU DESSEIN (Before Lettering), Gilles-Marie Oppenord, French, 1672–1742 — AVIS AUX AMATEURS DU DESSEIN (Before Lettering)Gilles-Marie Oppenord, French, 1672–17421749-1761Cooper Hewitt, Smithsonian Design Museum

Title Page, Before Lettering, Gilles-Marie Oppenord, French, 1672–1742 — Title Page, Before LetteringGilles-Marie Oppenord, French, 1672–17421749-1761Cooper Hewitt, Smithsonian Design Museum

Title Page, François Boucher, French, 1703–1770 — Title PageFrançois Boucher, French, 1703–17701749–61Cooper Hewitt, Smithsonian Design Museum

NOUVEAU LIVRE de Principes d’Ornements Particulierement pour trouver un nombre infini de forms qui en dependent. d’Après les Desseins de C. Gillot Peintre du Roy. Gravé par Huquier, Claude Gillot, French, 1673–1722 — NOUVEAU LIVRE de Principes d’Ornements Particulierement pour trouver un nombre infini de forms qui en dependent. d’Après les Desseins de C. Gillot Peintre du Roy. Gravé par HuquierClaude Gillot, French, 1673–17221749–61Cooper Hewitt, Smithsonian Design Museum

Title Page, Claude Gillot, French, 1673–1722 — Title PageClaude Gillot, French, 1673–17221749–61Cooper Hewitt, Smithsonian Design Museum

Title Page, Claude Gillot, French, 1673–1722 — Title PageClaude Gillot, French, 1673–17221749–61Cooper Hewitt, Smithsonian Design Museum

Portrait of Oppenord (Before Portrait and Lettering), Gilles-Marie Oppenord, French, 1672–1742 — Portrait of Oppenord (Before Portrait and Lettering)Gilles-Marie Oppenord, French, 1672–17421749-1761Cooper Hewitt, Smithsonian Design Museum

Title Page, François Boucher, French, 1703–1770 — Title PageFrançois Boucher, French, 1703–17701749–61Cooper Hewitt, Smithsonian Design Museum

Also at Cleveland Museum of Art

543

Relief of Nyankhnesut Seated, Unknown — Relief of Nyankhnesut SeatedUnknownc. 2311–2281 BCECleveland Museum of Art

Stele of Shemai, Unknown — Stele of ShemaiUnknownc. 1960–1916 BCECleveland Museum of Art

Relief of Hatshepsut or Tuthmosis III, Unknown — Relief of Hatshepsut or Tuthmosis IIIUnknown1479–1425 BCECleveland Museum of Art

Talatat: Portrait of Nefertiti, Unknown — Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art

Talatat: Portrait of Nefertiti, Unknown — Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art

Talatat: Nefertiti Offers to the Aten, Unknown — Talatat: Nefertiti Offers to the AtenUnknown1353–1347 BCECleveland Museum of Art

Tomb Relief of the Chief Physician Amenhotep and Family, Unknown — Tomb Relief of the Chief Physician Amenhotep and FamilyUnknownc. 1279–1257 BCECleveland Museum of Art

Stele of the High Priest of Ptah, Shedsunefertem, Unknown — Stele of the High Priest of Ptah, ShedsunefertemUnknown945–924 BCECleveland Museum of Art

Similar picturesFound by visual likeness

7 pictures

Other makers only

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

They Have Flown, Plate 61, Francisco de Goya (Spanish, 1746–1828) — They Have Flown, Plate 61Francisco de Goya (Spanish, 1746–1828)1799Cleveland Museum of Art

0.85

Drawing, Felice Giani, Italian, 1758–1823 — DrawingFelice Giani, Italian, 1758–1823About 1810-1823Cooper Hewitt, Smithsonian Design Museum

0.84

Drawing, Felice Giani, Italian, 1758–1823 — DrawingFelice Giani, Italian, 1758–18231800-1810Cooper Hewitt, Smithsonian Design Museum

0.84

The Adoration of the Magi, Arthur Pond — The Adoration of the MagiArthur Pond1735Yale Center for British Art

0.83

Monument, Giuseppe Barberi, Italian, 1746–1809 — MonumentGiuseppe Barberi, Italian, 1746–1809October 1796Cooper Hewitt, Smithsonian Design Museum

0.83

Bacchanales: Nymph Supported by Two Satyrs , Jean-Honoré Fragonard (French, 1732–1806) — Bacchanales: Nymph Supported by Two Satyrs Jean-Honoré Fragonard (French, 1732–1806)1763Cleveland Museum of Art

0.83

Drawing, Leonardo Scaglia, French, active Italy, 1640 – 1650 — DrawingLeonardo Scaglia, French, active Italy, 1640 – 16501650-1675Cooper Hewitt, Smithsonian Design Museum

0.83

Next

Francisco de Goya (Spanish, 1746–1828) made When Day Breaks We Will Be Off, Plate 71, and made these too.

Portrait of Don Juan Antonio Cuervo1819

Made in the eighteenth century, like When Day Breaks We Will Be Off, Plate 71.

Study of the Lamentation on the Dead Christ1780
The Sacrifice of Isaac1754
Sacrifice of Isaac1750
The Sacrifice of Isaac1750

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