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Francisco de goya y Lucientes
Unfortunate Events in the Front Seats of the Ring of Madrid
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245 x 355 mm - This is Plate 21 from the series Tauromaquia. A bull has leapt over the barrier and killed and injured a number of spectators. Goya leaves the left half of the picture empty, infringing the rules of compositional harmony. A number of spectators are nevertheless flinging themselves from right to left: out of the static balance, Goya develops a dynamic one. Author: GOYA Y LUCIENTES, Francisco de Title: Unfortunate Events in the Front Seats of the Ring of Madrid Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
The Colossus
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1810-18 Mezzotint engraving, 285 x 210 mm - This engraving by Goya (Goya's only mezzotint engraving) was formerly described (by his grandson) as a 'giant'. It shows a figure seated on a hill beneath a crescent moon, a meditative, passive counterpart to the threatening Colossus of the painting in the Prado. Author: GOYA Y LUCIENTES, Francisco de Title: The Colossus Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Feminine Folly
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1816-23 Etching and aquatint, 240 x 350 mm - This is Plate 1 from the series Los Disparates or Proverbios. Some of the subjects of the tapestry cartoons described as 'the pleasures of the nursery' enjoyed by grown-ups were to be transformed in Goya's late lithographs into dark, grotesque parodies. Author: GOYA Y LUCIENTES, Francisco de Title: Feminine Folly (Disparate Feminino) Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Spanish Entertainment
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1825 Lithograph, 300 x 410 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. As in his early paintings, and unlike in his Tauromaquia, Goya takes a step back from the events in the ring. His focus now falls not on the battle to the death that had earlier fascinated him and inspired him to new compositional solutions, but on the bullfight as popular entertainment. Perhaps the emigr?was also inspired by reminiscences of life in Spain. Author: GOYA Y LUCIENTES, Francisco de Title: Spanish Entertainment Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
The Divided Arena 1825 Lithograph
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300 x 425 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. At the end of his life, three years before his death, Goya once again returned to the subject of bullfighting, using the new technique of lithography to produce the series The Bulls of Bordeaux. Author: GOYA Y LUCIENTES, Francisco de Title: The Divided Arena Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Girl Listening to a Guitar
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1796-97 Indian ink wash, 170 x 99 mm Museo del Prado, Madrid This graphics belongs to the Sanl?car Album. Goya stayed with the Duchess of Alba at her Andalusian estate in Sanl?car after her husband's death and made several drawings of scenes in the domestic life of the Duchess and her household. Author: GOYA Y LUCIENTES, Francisco de Title: Girl Listening to a Guitar Form: graphics , 1801-1850 , Spanish , genre
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Francisco de goya y Lucientes
Couple with Parasol on the Paseo
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1796-97 Indian ink wash, 220 x 134 mm Kunsthalle, Hamburg This graphics belongs to Album C. Goya was a master of the rapid sketch - his albums are like notebooks in which he captures scenes from everyday life, preferably with women in them. Author: GOYA Y LUCIENTES, Francisco de Title: Couple with Parasol on the Paseo Form: graphics , 1801-1850 , Spanish , study
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Francisco de goya y Lucientes
Nude Woman Holding a Mirror
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1796-97 Indian ink wash, 234 x 145 mm Biblioteca Nacional, Madrid Author: GOYA Y LUCIENTES, Francisco de Title: Nude Woman Holding a Mirror Form: graphics , 1801-1850 , Spanish , study
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Francisco de goya y Lucientes
They are hot
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1797-98 Red chalk and red wash, 219 x 153 mm Museo del Prado, Madrid In all probability Goya was a faithful Christian, but he hated the mass of 60.000 Spanish monks as greedy and lazy, as encouraging superstition and as profiting from the work of others. Author: GOYA Y LUCIENTES, Francisco de Title: They are hot! Form: graphics , 1801-1850 , Spanish , study
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Francisco de goya y Lucientes
Josefa Josefa Bayeu
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111 x 81 mm Collection Marques de Casa Torres, Madrid Author: GOYA Y LUCIENTES, Francisco de Title: Josefa Bayeu Form: graphics , 1801-1850 , Spanish , study
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Francisco de goya y Lucientes
You'll see later
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1803-12 Indian ink and pen on pink paper, 266 x 187 mm Metropolitan Museum of Art, New York This sketch shows a burly lower-class man drinking greedily from a leather bottle. Ha has clearly been arguing with his wife, and Goya shows a moment of discord and dramatic action. With just a few precise brushstrokes and without any prior drawing, Goya conveys an emotionally charged expression. Author: GOYA Y LUCIENTES, Francisco de Title: You'll see later (Despu?s lo veras) Form: graphics , 1801-1850 , Spanish , study
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Francisco de goya y Lucientes
Woman Hitting Another Woman with a Shoe
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1812-23 Sepia wash, 205 x 141 mm Museum Boijmans van Beuningen, Rotterdam This graphics is from Album F. Author: GOYA Y LUCIENTES, Francisco de Title: Woman Hitting Another Woman with a Shoe Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
War scene
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1810-12 Brush and sepia wash, 150 x 195 mm Museo del Prado, Madrid A sombre scene, one of the designs that Goya did not turn into an etching for The Disasters of War. Author: GOYA Y LUCIENTES, Francisco de Title: War scene Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Who Can Think of It
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1814-23 Sepia wash and Indian ink, 205 x 142 mm Museo del Prado, Madrid This graphics belongs to Album C. Author: GOYA Y LUCIENTES, Francisco de Title: Who Can Think of It? Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Chained Prisoner
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1806-12 Indian ink wash, 218 x 151 mm Mus?e Bonnat, Bayonne Prisoners - not only prisoners of war - are among the victims of injustice and cruelty that figure in many of Goya's drawings and engravings. Author: GOYA Y LUCIENTES, Francisco de Title: Chained Prisoner Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Gumersinda Goicoechea
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Goya's Daughter-in-Law 1815 Black chalk, 110 x 82 mm Carderera Collection, Madrid In addition to this profile drawing, Goya painted other portraits of Gumersinda, a minature in near profile, a full length portrait and a sitting portrait. Author: GOYA Y LUCIENTES, Francisco de Title: Gumersinda Goicoechea, Goya's Daughter-in-Law Form: graphics , 1801-1850 , Spanish , portrait
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Francisco de goya y Lucientes
Peasant Carrying a Woman
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1812-23 Sepia wash, 205 x 143 mm Hispanic Society of America, New York This graphics is from Album F. As well as scenes of war and torture, Goya's sketchbook includes a wealth of studies of scenes from the daily lives of ordinary people. We see dancing, drinking, a man helping a woman over a stream. Author: GOYA Y LUCIENTES, Francisco de Title: Peasant Carrying a Woman Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Self-Portrait Aged 78
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1824 Pen and brown ink, 70 x 81 mm Museo del Prado, Madrid At the age of 78, Goya emigrated to France. After spending a few months in Paris, he settled in Bordeaux with Leocadia Weiss and her children. Author: GOYA Y LUCIENTES, Francisco de Title: Self-Portrait Aged 78 Form: graphics , 1801-1850 , Spanish , portrait
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Francisco de goya y Lucientes
Phantom Dancing with Castanets
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1824-28 Black chalk, 189 x 139 mm Museo del Prado, Madrid This graphics belongs to Album H. The phantom is an old man swaying and dancing in his nightshirt. Author: GOYA Y LUCIENTES, Francisco de Title: Phantom Dancing with Castanets Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
A Lunatic behind Bars
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1824-28 Black chalk, 1913 x 145 mm National Gallery of Art, Washington Many of Goya's etchings and drawings testify to his concern for the plight of lunatics and prisoners throughout his life. Author: GOYA Y LUCIENTES, Francisco de Title: A Lunatic behind Bars Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
Holy Week in Spain in Times Past
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1820-24 Black chalk, 191 x 146 mm National Gallery of Canada, Ottawa Goya returned to this subject after many years later he painted the Procession of Flagellants (Museo de la Real Academia de San Fernando, Madrid). Author: GOYA Y LUCIENTES, Francisco de Title: Holy Week in Spain in Times Past Form: graphics , 1801-1850 , Spanish , religious
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Francisco de goya y Lucientes
Portrait of Javier Goya
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1824 Black chalk, 90 x 80 mm Private collection Goya's son Francisco Javier was the only surviving child of several when he married in 1805. Author: GOYA Y LUCIENTES, Francisco de Title: Portrait of Javier Goya, the Artist's Son Form: graphics , 1801-1850 , Spanish , portrait
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Francisco de goya y Lucientes
I am Still Learning
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1824-28 Black chalk, 195 x 150 mm Museo del Prado, Madrid Until the end of his life Goya, in spite of old age and infirmity, continued to record the world around him in paintings and drawings and in the new technique of lithography. Author: GOYA Y LUCIENTES, Francisco de Title: 'I am Still Learning' ('A?n aprendo') Form: graphics , 1801-1850 , Spanish , other
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Francisco de goya y Lucientes
The Miracle of St Anthony
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1798 Fresco San Antonio de la Florida, Madrid Angels do not fall out of the sky; people, however, need a balustrade. Goya uses it to emphasize that the earthly world extends as far as the edge of the cupola, which is usually claimed by the Church
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Francisco de goya y Lucientes
The Miracle of St Anthony
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1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
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Francisco de goya y Lucientes
The Miracle of St Anthony
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1798 Fresco, width of detail 50 cm San Antonio de la Florida, Madrid Artist: GOYA Y LUCIENTES, Francisco de Title: The Miracle of St Anthony (detail) , painting Date: 1801-1850 Spanish : religious
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Francisco de goya y Lucientes
Bartolom Sureda y Miserol
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1804-06 Oil on canvas, 120 x 79 cm National Gallery of Art, Washington BartolomeSureda was the director of the Spanish royal textile, crystal, and ceramic factories.He taught Goya the technique of aquatint. In 1804 Sureda became director of the porcelain works at the Buen Retiro. The companion-piece of the portrait, also in the National Gallery of Art in Washington, represents his wife. Artist: GOYA Y LUCIENTES, Francisco de Title: BartolomeSureda y Miserol , painting Date: 1801-1850 Spanish : portrait
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Francisco de goya y Lucientes
Portrait of Jos Antonio
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Marques de Caballero 1807 Oil on canvas, 105,5 x 84 cm Museum of Fine Arts, Budapest Marques de Caballero (1760-1821) was the Minister of Justice when Goya painted this portrait. Goya signed the painting on the paper held by the left hand of the sitter. Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of JoseAntonio, Marques de Caballero , painting Date: 1801-1850 Spanish : portrait
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Francisco de goya y Lucientes
Portrait of Juan Antonio Cuervo
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1819 Oil on canvas, 120 x 87 cm Museum of Art, Cleveland The sitter was an architect who was appointed Director of the Royal Academy of San Fernando in August 1815. He wears the uniform of his office and holds dividers, an attribute of his profession. The plan on the table beside him is possibly for the church of Santiago in Madrid on which he had worked in 1811 and which made his reputation. The portrait was probably finished before Goya fell ill at the end of 1819 and is one of his last official portraits. The inscription indicates that it is at the same time a portrait of a friend. The painting is signed: 'Dn. Juan Anto/Cuervo/Directr de la RI/Academia de Sn/Fernando/Por su amigo Goya/ano 1819' Artist: GOYA Y LUCIENTES, Francisco de Title: Portrait of Juan Antonio Cuervo , painting Date: 1801-1850 Spanish : portrait
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Francisco de goya y Lucientes
Tiburcio
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1820 Oil on canvas, 102 x 81 cm Metropolitan Museum of Art, new York Tiburcio Perez y Cuervo was an architect, a friend of Goya. Artist: GOYA Y LUCIENTES, Francisco de Title: Tiburcio Perez y Cuervo , painting Date: 1801-1850 Spanish : portrait
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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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