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Francisco de goya y Lucientes
Witches- Sabbath
new16/Francisco de goya y Lucientes-897759.jpg
1789
Oil on canvas,
43 x 30 cm
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Francisco de goya y Lucientes
Self-Portrait in the Workshop
new16/Francisco de goya y Lucientes-446969.jpg
1790-95
Oil on canvas,
42 x 28 cm
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Francisco de goya y Lucientes
Picador Caught by the Bull
new16/Francisco de goya y Lucientes-745364.jpg
1793
Oil on tinplate,
43 x 32 cm
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Francisco de goya y Lucientes
The Countess del Carpio
new16/Francisco de goya y Lucientes-626687.jpg
c. 1793
Oil canvas,
181 x 122 cm
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Francisco de goya y Lucientes
Fire at Night
new16/Francisco de goya y Lucientes-436848.jpg
1793-94
Oil on tinplate,
50 x 32 cm
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Francisco de goya y Lucientes
The Yard of a Madhouse
new16/Francisco de goya y Lucientes-522334.jpg
1794
Oil on tinplate,
43,8 x 31,7 cm
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Francisco de goya y Lucientes
Robbery
new16/Francisco de goya y Lucientes-556893.jpg
c. 1794
Oil on canvas,
69 x 107,5 cm
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Francisco de goya y Lucientes
The Marquesa de la Solana
new16/Francisco de goya y Lucientes-964282.jpg
1794-95
Oil on canvas,
183 x 124 cm
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Francisco de goya y Lucientes
The Duchess of Alba
new16/Francisco de goya y Lucientes-653356.jpg
1795
Oil on canvas,
194 x 130 cm
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Francisco de goya y Lucientes
Portrait of Francisco Bayeu
new16/Francisco de goya y Lucientes-457977.jpg
c. 1795
Oil on canvas,
112 x 84 cm
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Francisco de goya y Lucientes
St Gregory
new16/Francisco de goya y Lucientes-292232.jpg
c. 1797
Oil on canvas,
188 x 113 cm
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Francisco de goya y Lucientes
Witches in the Air
new16/Francisco de goya y Lucientes-623434.jpg
1797-98
Oil on canvas,
43,5 x 31,5 cm
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Francisco de goya y Lucientes
The Bewitched Man
new16/Francisco de goya y Lucientes-263332.jpg
c. 1798
Oil on canvas,
42,5 x 30,8 cm
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Francisco de goya y Lucientes
La Tirana
new16/Francisco de goya y Lucientes-337845.jpg
1799
Oil on canvas,
206 x 130 cm
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Francisco de goya y Lucientes
Pintor
new18/Francisco de goya y Lucientes-349748.jpg
mk214
1797-8
21.9x15.2cm
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Francisco de goya y Lucientes
Memory like a half-length
new20/Francisco de goya y Lucientes-495752.jpg
mk261 marble statue in Florence, 79 centimeters high
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Francisco de goya y Lucientes
Portrait of the Poet
new21/Francisco de goya y Lucientes-479629.jpg
60 x 49,5 cm Museo de Bellas Artes, Bilbao Leandro Fern?ndez de Morat?n (1760-1828) was a Spanish dramatist and poet. A supporter of Joseph Bonaparte, he lived in exile in France after Bonaparte fell. Moliere, whose works he translated, was his literary model. His plays, satiric and psychologically acute, include El s?de las ninas [the maidens?consent] (1806), for which he was denounced to the Inquisition. He was subsequently compelled to give up playwriting. He was a friend of Goya who painted his portrait twice, this one in Bilbao, and another in 1799 which is now in the Museo de la Real Academia de San Fernando, Madrid. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of the Poet Morat?n , 1801-1850 , Spanish Form: painting , portrait
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Francisco de goya y Lucientes
Mournful Foreboding of What is to Come
new21/Francisco de goya y Lucientes-578233.jpg
1810 Etching, 175 x 220 mm - This is Plate 1 from the series The Disasters of War (Los desastres de la guerra). Author: GOYA Y LUCIENTES, Francisco de Title: Mournful Foreboding of What is to Come Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
The same
new21/Francisco de goya y Lucientes-549862.jpg
1810-15 Etching and wash, 160 x 221 mm - This is Plate 3 from the series The Disasters of War (Los desastres de la guerra). Author: GOYA Y LUCIENTES, Francisco de Title: The same Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Birds of a Feather
new21/Francisco de goya y Lucientes-878699.jpg
1799 Etching and aquatint, 200 x 151 mm - This is Plate 5 (Tal para qual) from the series Los Caprichos. Godoy, the Chief Minister, was the target of Goya's satirical wit in several plates of Los Caprichos, for instance. in the etching entitled Birds of a Feather. According to contemporary commentaries this is a reference to Godoy and Queen Mar?a Luisa, in particular to an occasion when she was mocked by a group of washerwomen for her unseemly behaviour. Author: GOYA Y LUCIENTES, Francisco de Title: Birds of a Feather Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
What courage
new21/Francisco de goya y Lucientes-947784.jpg
1810-15 Etching and aquatint, 155 x 208 mm - This is Plate 7 from the series The Disasters of War (Los desastres de la guerra). Goya reacted to the struggle against the French with The Disasters of War, his second great cycle of etchings after Los Caprichos. It extends to over 80 plates, but includes only few acts of heroism, such as that of the young woman who fires the cannon after all the men are dead. Author: GOYA Y LUCIENTES, Francisco de Title: What courage! Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Out hunting for teeth
new21/Francisco de goya y Lucientes-363824.jpg
1797-98 Etching and aquatint, 218 x 151 mm - This is Plate 12 from the series Los Caprichos. The young woman, recoiling in fear at the sight of the hanged man, is nevertheless reaching greedily into his mouth for his teeth, which are precious ingredients for magic potions. Author: GOYA Y LUCIENTES, Francisco de Title: Out hunting for teeth! Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
There was no remedy
new21/Francisco de goya y Lucientes-499592.jpg
1797-98 Etching and aquatint, 217 x 152 mm - This is Plate 24 from the series Los Caprichos. Those condemned by the Inquisition were publicly paraded wearing a distinctive conical hat signaling their disgrace.In 1807 a French traveller in valencia watched an alleged witch, "her upper body bared to the waist", being lead through every quarter of the town. Author: GOYA Y LUCIENTES, Francisco de Title: There was no remedy Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
What more can one do
new21/Francisco de goya y Lucientes-874735.jpg
1812-15 Etching and aquatint, 158 x 208 mm - This is Plate 33 from the series The Disasters of War (Los desastres de la guerra). French soldiers castrate or kill a defenceless man. This is another scene that the artist, living in Madrid, probably did not see at first hand. Brutality and death fired his imagination. Author: GOYA Y LUCIENTES, Francisco de Title: What more can one do? Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
May the rope break
new21/Francisco de goya y Lucientes-788236.jpg
1815-20 Etching and aquatint, 175 x 220 mm - This is Plate 77 from the series The Disasters of War (Los desastres de la guerra). The Pope balances above the heads of the crowd. The hope that the rope might break was not fulfilled. Author: GOYA Y LUCIENTES, Francisco de Title: May the rope break Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Truth Has Died
new21/Francisco de goya y Lucientes-927878.jpg
1810-1814 Etching, 175 x 220 mm - This is Plate 79 from the series The Disasters of War (Los desastres de la guerra). In the concluding plates of the Disasters of War are shown the burial of a beautiful young woman, followed by her exhumation or resurrection . Captioned Murio la verdad (Truth has Died), the first shows her body radiant with light as she lies in her grave and a looming priest administers the last rites. In the companion print, Si reucitaria? (Will She Rise Again?), she is exposed, her radiance and beauty faded, her face aged. Still she emits a glow that seems all the greater for the depth of background shadow - and sufficient to throw the crowd of peering ghouls into a frenzy. Here, the parallel hatching of the first etched plate is replaced by radiant lines, inked more intensely as they spread away from the body. Author: GOYA Y LUCIENTES, Francisco de Title: Truth Has Died (Murio la verdad) Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Will She Rise Again
new21/Francisco de goya y Lucientes-665383.jpg
1810-1814 Etching, 175 x 220 mm - This is Plate 80 from the series The Disasters of War (Los desastres de la guerra). In the concluding plates of the Disasters of War are shown the burial of a beautiful young woman, followed by her exhumation or resurrection . Captioned Murio la verdad (Truth has Died), the first shows her body radiant with light as she lies in her grave and a looming priest administers the last rites. In the companion print, Si reucitaria? (Will She Rise Again?), she is exposed, her radiance and beauty faded, her face aged. Still she emits a glow that seems all the greater for the depth of background shadow - and sufficient to throw the crowd of peering ghouls into a frenzy. Here, the parallel hatching of the first etched plate is replaced by radiant lines, inked more intensely as they spread away from the body
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Francisco de goya y Lucientes
As far back as his grandfather
new21/Francisco de goya y Lucientes-534864.jpg
1797-98 Aquatint, 215 x 150 mm - Goya caricatures the pride of the hidalgos. Some 500.000 of Spain's population of around 10 million considered themselves to belong to this lesser branch of the nobility. Since work was beneath their station, most of them were impoverished, their only possessions being a long line of ancestors. Author: GOYA Y LUCIENTES, Francisco de Title: As far back as his grandfather Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
The Morisco Gazul is the First to Fight Bulls with a Lance
new21/Francisco de goya y Lucientes-988765.jpg
1815-16 Etching and aquatint, 250 x 350 mm - This is Plate 5 from the series Tauromaquia. Author: GOYA Y LUCIENTES, Francisco de Title: The Morisco Gazul is the First to Fight Bulls with a Lance Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
The Bravery of Martincho in the Ring of Saragassa
new21/Francisco de goya y Lucientes-533827.jpg
1815-1816 Etching and aquatint, 245 x 355 mm - This is Plate 18 from the series Tauromaquia. While working on The Disasters of War, Goya also etched 33 plates, which he offered for sale under the title of Tauromaquia (The Art of Bullfighting). Here he depicts a famous torero, seated on a chair and with his feet tied, preparing to deliver the bull a fatal thrust. A moment of extreme tension, which Goya makes palpable by abandoning the traditional rules of perspective. Author: GOYA Y LUCIENTES, Francisco de Title: The Bravery of Martincho in the Ring of Saragassa (Tauromaquia 18) Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828,
Goya is considered the 18th Century's foremost painter and etcher of Spanish culture, known for his realistic scenes of battles, bullfights and human corruption. Goya lived during a time of upheaval in Spain that included war with France, the Inquisition, the rule of Napoleon's brother, Joseph, as the King of Spain and, finally, the reign of the Spanish King Ferdinand VII. Experts proclaim these events -- and Goya's deafness as a result of an illness in 1793 -- as central to understanding Goya's work, which frequently depicts human misery in a satiric and sometimes nightmarish fashion. From the 1770s he was a royal court painter for Charles III and Charles IV, and when Bonaparte took the throne in 1809, Goya swore fealty to the new king. When the crown was restored to Spain's Ferdinand VII (1814), Goya, in spite of his earlier allegiance to the French king, was reinstated as royal painter. After 1824 he lived in self-imposed exile in Bordeaux until his death, reportedly because of political differences with Ferdinand. Over his long career he created hundreds of paintings, etchings, and lithographs, among them Maya Clothed and Maya Nude (1798-1800); Caprichos (1799-82); The Second of May 1808 and The Third of May 1808 (1814); Disasters of War (1810-20); and The Black Paintings (1820-23).
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