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Francisco Goya
Francisco de Goya Biography
Sometimes called the father of modern art, Spanish artist Francisco de Goya painted roy portraits as well as more subversive works in late 1700s and early 1800s.
Francisco Goya Synopsis A famed painter in his own lifetime, Francisco de Goya was born on March 30, 1746, in Fuendetodos, Spain. He began his art studies as a teenager and even spent time in Rome, Italy, to advance his skills. In 1770s, Goya began to work for Spanish royal court. In addition to his commissioned portraits of the nobility, he created works that criticized the social and political problems of his era. Early Years The son of a guilder, Goya spent some of his youth in Saragossa. There he began studying painting around the age of fourteen. He was a student of José Luzán Martínez. At first, Goya learned by imitation. He copied the works of great masters, finding inspiration in the works of such artists as Diego Rodríguez de Silva y Velázquez and Rembrandt van Rijn. Later, Goya moved to Madrid, where he went to work with brothers Francisco and Ramón Bayeu y Subías in their studio. He sought to further his art education in 1770 or 1771 by traveling to Italy. In Rome, Goya studied the classic works there. He submitted a painting to a competition held by the Academy of Fine Arts at Parma. While the judges liked his work, he failed to win the top prize.
Francisco Goya Goya and The Spanish Court Through the German artist Anton Raphael Mengs, Goya started to create works for Spain's royal family. He first painted tapestry cartoons, which were artworks that served as models for woven tapestries, for a factory in Madrid. These works featured scenes from everyday life, such as "The Parasol" (1777) and "The Pottery Vendor" (1779). In 1779, Goya won an appointment as a painter to the royal court. He continued to rise in status, receiving admission into the Royal Academy of San Fernando the following year. Goya began to establish a reputation as a portrait artist, winning commissions from many in royal circles. Works, such as "The Duke and Duchess of Osuna and their Children" (1787-1788), illustrate Goya's eye for detail. He skillfully captured the tiniest elements of their faces and clothes. Illness In 1792, Goya became completely deaf after suffering from an unknown malady. He started to work on non-commissioned paintings during his recovery, including portraits of women from all walks of life. His style changed somewhat as well.
Francisco Goya
Continuing to thrive professionally, Goya was named the director of the Royal Academy in 1795. He may have been part of the royal establishment, but he did not ignore the plight of the Spanish people in his work. Turning to etchings, Goya created a series of images called "Los Caprichos" in 1799, which has been viewed his commentary on political and social events. The 80 prints explored the corruption, greed, and repression that was rampant in the country. Even in his official work, Goya is thought to have cast a critical eye on his subjects. He painted the family of King Charles IV around 1800, which remains one of his most famous works. Some critics have commented that this portrait seemed to be more a caricature than a realist portrait.
Francisco Goya Goya also used his art record moments of the country's history. In 1808, France, led by Napoleon Bonaparte, invaded Spain. Napoleon installed his brother Joseph as the country's new leader. While he remained a court painter under Napoleon, Goya created a series of etchings depicting the horrors of war. After Spanish royalty regained the throne in 1814, he then painted "The Third of May," which showed to the true human costs of war. The work depicted the uprising in Madrid against French forces. Final Years With Ferdinand VII now in power, Goya kept his position in the Spanish court despite having worked for Joseph Bonaparte. Ferdinand reportedly once told Goya that "You deserve to be garroted, but you are a great artist so we forgive you." Others in Spain were not so lucky as the king sought to crackdown on liberals who sought to make the country a constitutional state. Despite the personal risks, Goya expressed his dissatisfaction with the Ferdinand's rule in a series of etchings called "Los disparates." These works featured a carnival theme and explored folly, lust, old age, suffering and death among other issues. With his grotesque imagery, Goya seemed to illustrate the absurdity of the times. The political climate subsequently became so tense that Goya willingly went into exile in 1824. Despite his poor health, Goya thought he might be safer outside of Spain. Goya moved to Bordeaux, France, where he spent the remainder of his life. During this time, he continued to paint. Some of his later works included portraits of friends also living in exile. Goya died on April 16, 1828, in Bordeaux, France.
Francisco Goya Francisco de Paula José de Goya y Lucientes (1746-1828) was Spain's greatest painter and printmaker during the late 18th and early 19th centuries, a wayward genius who prefigured in his art the romantic, impressionist, and expressionist movements. Born in Fuendetodos near Saragossa on March 30, 1746, Francisco Goya died a voluntary expatriate in Bordeaux, France. Tradition has it that a priest discovered talent in the boy upon seeing him draw a hog on a wall. Oddly enough, a testament submitted for the process of beatification of Father José Pignatelli disclosed (not detected until 1962) that he taught Goya, who "instead of paying attention, kept his head down so that his teacher couldn't see him and occupied himself in sketching…."Pignatelli ordered him to the front of the class but recognized an artistic gift in the sketches. The priest called upon José Goya, the boy's father, and advised him to dedicate his son to painting. Perhaps owing to this same priest's influence, Goya at 12 years of age painted three works (destroyed 1936) for the church in Fuendetodos. Two years later, Goya was apprenticed to José Luzán y Martínez, a mediocre, Neapolitan-trained painter who set his pupil to copying the best prints he possessed. After 4 years of this training, Goya left. He went to Madrid in 1763 to compete unsuccessfully for a scholarship to San Fernando Academy. The tests ended on Jan. 15, 1764, and nothing is known of the artist until 2 years later, when he entered another academic competition calling for a painting of the following subject: Empress Martha presents herself to King Alphonse the Wise in Burgos to petition a third of the ransom required by the sultan of Egypt for the rescue of her husband, Emperor Valduin; the Spanish king orders the full sum to be given her. The competitors were granted 6 months to execute this theme; Goya failed again. On July 22 he entered a competition to sketch another complicated historical scene and lost for the third time.
Francisco Goya Early Works Little is known of Goya's subsequent activities until April 1771, when he was in Rome. Two small paintings, both dated 1771 and one signed "Goya," were recently discovered: Sacrifice to Pan and Sacrifice to Vesta. The monumental figures are classical but executed with sketchy brushstrokes and bathed in theatrical lighting. From Rome he sent to the Academy of Parma for an open competition another painting, Hannibal in the Alps Contemplating the Italian Lands, and signed himself as a pupil of Francisco Bayeu in his accompanying letter. Although he was not the winner, he did receive six of the votes and laudatory mention. Immediately after he had received this news, Goya departed for Saragossa. The aforementioned works, and a handful more, are all that is known of Goya's art between 1766 and 1771. Sรกnchez Cantรณn (1964) pointed out that there are no concrete incidents to document the usual explanation, adduced from his known temperament, that he was otherwise occupied in womanizing, bullfighting, and brawling. In Saragossa, Goya received important commissions, which he executed with success. On July 25, 1775, he married Josefa Bayeu, Francisco's sister. Bayeu, who was a director of the San Fernando Academy, used his influence to help his brother-in-law. Goya was commissioned to paint cartoons of contemporary customs and holiday activities for the Royal Tapestry Factory of Santa Barbara. This work, well suited to his nature, lasted from 1774 to 1792. He completed 54 cartoons in a rococo style that mingled influences from Michel Ange Houasse, Louis Michel Van Loo, Giovanni Battista Tiepolo, and Anton Raphael Mengs.
Francisco Goya Following an illness in 1778, Goya passed his convalescence executing his first series of engravings from 16 paintings by Diego Velรกzquez. Goya began to enjoy signs of recognition: he was praised by Mengs, named as a court painter by Charles III in 1779, and elected to membership in San Fernando Academy after he presented a small, classical painting, the Crucified Christ, in 1780. On the crest of this wave of approval, a quarrel with his important brother-in-law had serious consequences upon his career: in 1780 he was commissioned to paint a dome and its pendentives for the Cathedral of El Pilar in Saragossa. Bayeu suggested certain corrections in the domical composition, which Goya rejected. Then the council of the Cathedral took objection to certain nudities in his preparatory sketches for the pendentives and ordered him to submit his designs to Bayeu for correction and final approval. Goya accepted this condition, but afterward he declared he would "take it to court first." Later he wrote to a friend that, just to think about the incident, "I burn alive." This affair seems to have caused a hiatus (1780-1786) in his cartoons for the royal factory.
Francisco Goya
Francisco Goya The Portraits The King commissioned Goya in 1780 to paint an altarpiece for the church of S. Francisco el Grande, Madrid; this work, the Preaching of St. Bernardino, was completed in 1784. No works by Goya are known for the year 1782 and only portraits for 1783, among which is one of the Count of Floridablanca, First Secretary of State. Other portraits of this period include those of the members of the family of the infante Don Luis (1783-1784) and the brilliant portrait of the Duke of Osuna (1785). The artist was back in favor sometime before May 11, 1785, when he was appointed lieutenant director of painting (under Bayeu) in the Academy of San Fernando. The following year he was again working on the tapestry cartoons, and in June he was named painter to the king. Bayeu, clearly reconciled, sat for his portrait in 1786. Goya also executed many portraits of the royal family and members of the nobility, including the very appealing picture of the little Manuel Osorio de ZuĂąiga (1788). In 1792 a committee was appointed to reform the academic methods of teaching at the Academy, and the minutes read in part: "SeĂąor Goya openly declared himself in favor of freedom in the mode of teaching and in stylistic practices, saying that all servile submission of a children's school should be excluded, as well as mechanical precepts, monthly awards, tuition aids, and other trivialities that feminize and vilify painting. Nor should time be predetermined to study geometry or perspective to conquer difficulties in sketching." Goya fell gravely ill in Seville at the end of 1792. He was left totally deaf and underwent a personality change from extrovert to introvert with an intense interest in evil spirits, a temporary avoidance of large canvases, and a preference for sketches in preparation for prints. He was back at work in Madrid by July 1793, and that year he produced a series of panels which he presented to the Academy of San Fernando. They include a scene in a madhouse, a bullfight, and an Inquisition scene.
Francisco Goya Duchess of Alba Goya received a commission from the noble house of Alba in 1795. Since he moved in aristocratic circles, it is clear that he must have known the duchess for some time before this. At any rate, after the duke's death in July 1796, she retired to her villa in Sanlucar, and Goya was one of her guests. Upon his return to Madrid in 1797, he painted the duchess in black but with a wide colored belt (therefore not a mourning garment), wearing two rings, one imprinted "Alba" and the other "Goya." He signed the work "Goya, always." Whatever their relationship was, it is clear that Goya had high hopes. It is also true that in the spring following the duke's death the duchess's servants were gossiping in correspondence about her possible remarriage. Nevertheless, SeĂąora Goya was still living, and Goya could not be the unnamed swain. In any event, the duchess never did remarry. At best, Goya's painting was a brazen flaunting of illicit hopes; at worst, a vulgar display of kiss-and-tell. Goya's first great series of etchings, Los caprichos (1796-1798), were based on drawings from his Madrid Sketchbook. They include scenes of witchcraft, popular traditions, bullfights, and society balls. In the Caprichos Goya mercilessly and vindictively lampooned the duchess, depicting her in immodest postures; representing her as "a stylish fool" and adding, "There are heads so swollen with inflammable gas that they can fly without being helped by a balloon or by witches;" and likening her to a two-headed, butterfly brain of a "lie and inconstancy." The duchess died in 1802, following a long illness. Goya painted the Nude Maja and the Clothed Maja later (usually dated between 1805 and 1807). The heads in both appear to float, neckless, above the shoulders.
Francisco Goya Inquisition and the Peninsular War By the first years of the 19th century Goya was a wealthy man able to purchase an impressive home in 1803 and marry his son to an heiress in 1805. Simultaneously he was attracting the attention of the Holy Office of the Inquisition owing to the anticlerical satire in the Caprichos as well as his salacious subject matter. He donated all the Caprichos plates and the 240 unsold sets of the edition to the King under the pretext of seeking a pension for his son to travel; once the donation was accepted, the Holy Office perforce withdrew. The inquisitors did not forget, however; they investigated him again in 1814 concerning the nude and dressed Majas. Incomplete documentation leaves this incident obscure. During the Napoleonic usurpation of the Spanish throne and the consequent War of Independence (1808-1813) Goya had an enigmatic record. With 3,000 other heads of families in Madrid on Dec. 10, 1808, he swore "love and fidelity" to the invader. In 1810 he attended the Academy to greet its new protector appointed by Joseph Bonaparte, but that same year he began work on his series of 80 etchings, Los desastres de la guerra (The Disasters of War), which, in many cases, is a specific condemnation of the Napoleonic war, although the expressionistic rendering makes the series a universal protest against the horrors of war. He finished the Desastres in 1814, the same year he painted the Executions of May 3, 1808, a grim depiction of a brutal massacre. Goya applauded, understandably, the French suppression of the Inquisition and the secularization of religious orders. Yet in the joint will he made with his wife in 1811, he requested that he be buried in the Franciscan habit and have Masses offered and prayers said for his soul, and he made grants to holy places. His wife died in 1812, the year in which Goya painted the Assumption of the Virgin for the parish church of Chinchรณn, where his brother, Camilo, was the priest. Goya executed two more series of etchings. Los proverbios (1813-1815; 1817-1818), or Disparates, as he himself called the series, are monstrous in mood and subject. The Tauromachia (1815-1816) is a series devoted to the art of bullfighting.
Francisco Goya Last Years In 1819 Goya purchased a villa, La Quinta del Sordo (Villa of the Deaf Man), at a time when his son and daughter-in-law were estranged from him, perhaps owing to another affair. His housekeeper was Leocadia Zorrilla de Weiss, a distant relative who was separated from her German husband, by whom she had had a son and daughter. Goya was so fond of the latter, Rosario, born in 1814, that some believe he was her father. Goya frescoed two rooms of the villa with his "black paintings." These profoundly moving works are a strange mixture of the horrendous (Saturn Devouring His Son), the diabolic (Witches' Sabbath), the salacious (The Jesters), the devout (Pilgrimage of San Isidro), and the ordinary (Portrait of Leocadia Zorrilla, previously called Una manola). These subjects and the others in the series make an ensemble that is as puzzling to interpret psychologically as it is emotionally overpowering. In 1823 political events greatly affected Goya's life: Fernando VII, discontented with the constitution that had been forced upon him, left his palace in Madrid and went to Seville. Two months later the Duke of Angoulême with "one hundred thousand sons of St. Louis" invaded Spain to help Fernando VII. Goya, a liberal, immediately turned over the title to his villa to his grandson Mariano and took refuge in a friend's house. The following year Goya sought permission to spend 6 months enjoying the waters of Plombières "to mitigate the sickness and attacks that molested him in his advanced age." All this time Goya was receiving his royal salaries (and continued to do so up to his death) even though he had ceased to create works as First Court Painter or to teach in the Academy of San Fernando. When the King granted his request, Goya immediately went to Bordeaux with Leocadia and her children. A friend described Goya's arrival: "deaf, sluggish and weak, without one word of French yet so happy and so desirous to see the world." He went back to Spain in 1825 to ask to be retired and was granted permission to return to France "with all the salary." His paintings in Bordeaux, especially the Milkmaid of Bordeaux, indicate a release from his dark emotions. He died of a stroke on April 15, 1828, in Bordeaux.
Francisco Goya
Francisco Goya Further Reading on Francisco de Paula Josede Goya y Lucientes There are many good books on Goya and his art. In English, José López-Rey, Goya's Caprichos (2 vols., 1953), provides an excellent understanding of Goya's tormented genius. A sensitive insight is given by André Malraux, Saturn: An Essay on Goya (1950; trans. 1957). See also Charles Poore, Goya (1938); Francis Donald Klingender, Goya in the Democratic Tradition (1948); Pierre Gassier, Goya: A Biographical and Critical Study (trans. 1955); Royal Academy of Arts, London, Goya and His Times (1963); Francisco Javier Sánchez Cantón, The Life and Works of Goya (trans. 1964); and Tomás Harris, Goya: Engravings and Lithographs (2 vols., 1964).
Francisco Goya 15 Things You Should Know About Goya's The Third of May 1808
Francisco Goya Spanish Romantic Francisco Goya was the court artist to the Spanish crown through highs and lows. Yet it isn't portraits of royalty for which he is best remembered, but for his brutal and moving masterpiece The Third of May 1808.
1. The painting commemorates a dark moment in Spanish history. In 1807, Napoleon Bonaparte's forces crossed the Pyrenees into allied Spain under the pretext of invading Portugal. Once in place, the infamous French emperor began to take control of regions of Spain. When he realized what was happening, King Charles IV attempted to flee to South America. But before he could, he was forced by angry citizens to abdicate in favor of his son, Ferdinand VII. Sensing an opportunity, Napoleon invited both Charles and Ferdinand to France. Fearing their leaders would be executed, the people of Spain rose up against the army, and were brutally suppressed. It is this suppression that is detailed in The Third of May 1808. Two days later, Napoleon forced both kings to abdicate in favor of himself, and would ultimately install his brother Joseph as Spain’s new monarch. Rather than being executed, Ferdinand VII was imprisoned for 6 years before he was allowed to reclaim Spain's throne.
Francisco Goya 2. The Third of May 1808 is known by several names. There are variant titles, including The Shootings of May 3, The Third of May 1808 in Madrid, or The Executions. Sometimes named for the location on which it is staged, the painting has also been called The Shootings on the PrĂncipe PĂo Hill. Its grandest title is The Third of May, 1808: The Execution of the Defenders of Madrid. 3. It has a prequel companion piece. Completed two months before its more iconic cousin, The Second of May 1808 depicts the actual day of revolt known as Dos de Mayo Uprising. While this work showed Spanish civilians in a moment of victory, The Third of May 1808 presented the French response the following day, when Napoleon's soldiers slaughtered hundreds of Spaniards in one cruel, dark night.
Francisco Goya 4. It can be read as an apology from Goya. During the tumultuous French occupation, Goya maintained his position as the court's painter, meaning he had to swear an oath of loyalty to usurper Joseph Bonaparte. When the French where finally expelled from Spain in February of 1814, Goya asked the nation's provisionary government to "perpetuate by means of his brush the most notable and heroic actions of our glorious insurrection against the Tyrant of Europe,� which led to the commission of this pair of paintings. 5. The Third of May 1808 received negative reviews. The daring artistic choices in the piece earned critics’ scorn. Goya broke from tradition by presenting his war heroes in a less than epic fashion, allowing the Spanish civilians to look like a bramble of humanity. He also included blood, an unpopular device in history paintings of the 19th century. Others docked the piece for its flat perspective and unrealistic staging. 6. Christian iconography contributes to its emotional weight. While Goya rejected the tradition of making his subjects beautiful in their heroism, he embraced the chance to make them divine. Notice how the man at the painting’s center raises his hands in a pose similar to Jesus hanging from the cross. And if you look closely, you'll notice that like Jesus, this man has a wound on his right hand, reminiscent of stigmata. In this context, these Spanish rebels are presented as martyrs who died in love and service to their homeland.
Francisco Goya
Francisco Goya 7. The use of the lantern is subversive. Baroque artists famously used light to symbolize the divine, but in The Third of May 1808, a radiant lantern is the tool that allows the French soldiers to carry out their bloody business before the sun comes up. 8. It's believed to be anti-war. The blood, the men weeping for their lives, and the soon-to-be shot figure with his arms outstretched all contribute to the notion that Goya wanted to present battle as horrible, not noble. While respecting his fellow Spaniards who died in the effort to liberate the city, he makes war and its casualties look grotesque. The soldiers killing unarmed men are turned away so that the viewer cannot connect to them. War—according to Goya—is darkness. Or as 20th century art critic Robert Hughes wrote, "Most of the victims have faces. The killers do not. This is one of the most often-noted aspects of the Third of May, and rightly so: with this painting, the modern image of war as anonymous killing is born, and a long tradition of killing as ennobled spectacle comes to its overdue end." 9. It's bigger than you might think. The Third of May 1808 measures in at 8 feet, 9 inches by 11 feet, 4 inches. The Second of May 1808 matches its size.
Francisco Goya 10. Both pieces were damaged in another Spanish war. The damage didn’t happen during battle, either. In a bid to protect the paintings, The Second and The Third were being transported to Valencia and then ultimately to Geneva via truck during the Spanish Civil War (1936-1939), when a road accident wounded both works. A keen eye can spot the damage on the lower left hand corner of The Third of May 1808. 11. This marked a turning point in Goya's style. The French occupation made a deep impact on the painter. While he'd supported the French Revolution, he was scarred by the horrors and subjugation he witnessed during the French occupation. While his works had previously shown an interest in social and political commentary (including his Caprichos series), art historians have noted that his work grew darker in both color and content beginning with these paired rebellion paintings. 12. Nobody knows when the public first saw The Third of May 1808. Historians have found no references from 1814 that detail the painting’s debut. However, this gap in the historical record may have stemmed from Spain’s reigning king, Ferdinand VII, not being a fan of the work and its sentiment. The monarch had actually put a stop to plans to build a monument in commemoration of the uprising's fallen.
Francisco Goya 13. It has since found a proud home in Madrid. Some historians speculate that the painting spent up to 30 years in royal hands (or royal storage), before being gifted to Madrid’s Museo del Prado sometime between its opening in 1819 and 1845, when art critic Théophile Gautier mentioned it being “relegated without honor to the antechamber” of the Prado. The first official record of the work in the museum's published catalog is dated 1872. But in 2009, Prado declaredthe painting one of the most important in its collection, leading to its posting on Google Earth with a resolution of 14,000 megapixels. 14. The Third of May 1808 inspired other acclaimed artists. Both Edouard Manet's Execution of Emperor Maximilian and Pablo Picasso's Massacre in Korea show influences from Goya's disturbing depiction of war. In 2006, this connection was celebrated with a special exhibition at the Prado. 15. It has become one of the most admired paintings of
war. Compared to Picasso's Guernica for its fearless depiction of the brutality of war, The Third of May 1808's estimation has only grown in the art world. Once sneered at for its departures from convention, today its blend of Christian iconography, its emotional chiaroscuro, and its influence on fine art and popular art have helped establish its reputation as a groundbreaking masterpiece. Or as art historian Kenneth Clark puts it, "[The Third of May 1808 is] the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention."
Francisco Goya 10 MOST FAMOUS PAINTINGS BY FRANCISCO GOYA #10 THE PARASOL Spanish Title: El Quitasol Year: c. 1777
The Parasol (1777)
This work of art is from Francisco Goya’s series of 63 large tapestry cartoons. Goya was commissioned to paint the series by the Spanish crown during early part of his career. Though he later regretted spending so much time on the cartoons, the series is considered important in his artistic development and helped him study human behavior which would later prove important for painting his masterpieces. This painting which merges French and Spanish fashion is perhaps the most famous work of his cartoon series.
Francisco Goya #9 THE DOG Spanish Title: El Perro Year: 1819 – 1823 The Dog (1823)
The Black Paintings is a name given to the group of 14 paintings created by Francisco Goya in the later stage of his life probably between 1819 and 1823. The paintings, which are well known for depicting intense dark themes, were painted by Goya as murals on the walls of his house and were transferred to canvas years after his death. This well-known work depicts a dog, almost lost in the vastness of the scene; and looking skywards perhaps hoping for divine intervention after all seems lost. It is usually interpreted as a symbol of man’s struggle against malevolent forces.
Francisco Goya
Francisco Goya #8 THE CLOTHED MAJA Spanish Title: La maja vestida Year: 1800 – 1805 Majo (masc.) or maja (fem.) were terms used to refer to the people of the lower classes of Spanish society who were known for their sense of style in dresses and manners. They were among the favorite subjects of several 19th-century Spanish artists. This painting is usually displayed alongside its more famous companion of the same size The Nude Maja. The clothes worn by the model in this painting are responsible for the names given to these two famous works of art. The identity of the model remains unknown.
The Clothed Maja (1805)
Francisco Goya #7 WITCHES’ SABBATH (THE GREAT HE-GOAT) Spanish Title: Aquelarre Year: c. 1821 – 1823
Witches’ Sabbath, which is seen by art historians as a satire on the tendency of the age to believe in things too easily and condemnation of superstition, is a one of the most renowned Black Painting of Goya. It shows Satan with goat like features and dressed in clerical clothing, delivering a lecture to what appears a gathering of witches.
Witches’ Sabbath (1823)
Francisco Goya #6 CHARLES IV OF SPAIN AND HIS FAMILY Year: 1801
This life size depiction of ostentatiously dressed King Charles IV of Spain and his family is one Goya’s most famous works. It is noted for the artist’s disinclination to flatter and most modern interpreters see the style and placement as depicting the corruption behind the rule of the monarch. The positioning of the king’s wife Louisa at the center of the portrait is considered a hint to where the real power lied during his reign. The barely visible man in the background is Goya himself.
Charles IV of Spain and His Family (1801)
Francisco Goya #5 THE DISASTERS OF WAR SERIES Spanish Title: Los Desastres de la Guerra Year: 1810 – 1820
Created between 1810 and 1820, this series of 82 prints ranks among the most important works of Francisco Goya. Art historians have divided the series into three parts. The first 47 prints depict the horrors of war; the middle series (prints 48 to 64) depict the effects of the famine that hit Madrid in 1811–12; and the last 17 reflect the disappointment following the restoration of the Bourbon monarchy in 1814. Goya’s dark portrayal of the consequences of war is considered a prodigious visual outrage against war and a bold political statement.
Plate 39 (A heroic feat! With dead men!) from the Disasters of War Series
Francisco Goya #4 THE SLEEP OF REASON PRODUCES MONSTERS Spanish Title: El sueño de la razón produce monstrous Year: 1799
Los Caprichos are a set of 80 prints which were created by Goya in 1797 and 1798. He published them as an album the following year. According to Goya the series depicted “the innumerable foibles and follies to be found in any civilized society; and from the common prejudices and deceitful practices which custom, ignorance or self-interest have made usual”. This print, which depicts the artist asleep amid his drawing tools with monsters symbolizing the vices of society invading his mind, is the most famous print of the series.
The Sleep of Reason Produces Monsters (1799) – from the Los Caprichos series
Francisco Goya #3 SATURN DEVOURING HIS SON Spanish Title: Saturno devorando a su hijo Year: c. 1819 – 1823
This masterpiece is based on the Roman myth by which the titan Saturn ate his children as it was prophesied that one of his sons would overthrow him, just like he had overthrown his father Caelus. The Prophesy does come to be true as his wife Ops deceives him and saves one of their sons. This disturbing portrait of Saturn consuming one of his children is the most famous of the 14 Black Paintings by Francisco Goya. It was one of the six paintings decorating his dining room.
Saturn Devouring His Son (1823)
Francisco Goya #2 THE NUDE MAJA Spanish Title: La Maja Desnuda Year: 1797 – 1800
The Nude Maja is famous as the first “totally profane life-size female nude in Western art” and the first large Western painting to depict female pubic hair without obvious negative connotations. The painting was most likely commissioned by Prime Minister of Spain Manuel de Godoy. The identity of the model is not known with certainty. Likely candidates are Godoy’s mistress Pepita Tudo and María Cayetana de Silva, 13th Duchess of Alba. Known for the straightforward and unashamed view of the model towards the viewer, it is considered a revolutionary work which expanded the horizons of Western art.
The Nude Maja (1800)
Francisco Goya #1 THE THIRD OF MAY 1808 Spanish Title: El tres de mayo de 1808 en Madrid Year: 1814
On May 2, 1808, the people of Madrid rebelled against the occupation of the city by Napoleon’s French army. Goya has captured this uprising in his painting The Second of May 1808. The Third of May 1808, the most famous painting by the artist, depicts the retaliation by the French the following day, during which hundreds of Spaniards were rounded up and shot. The painting is considered one of the first great paintings of the modern era; has been called revolutionary in its style, subject and intention; and has inspired several famous painting by future artists most prominently Pablo Picasso’s masterpiece Guernica.
The Third of May 1808 (1814)
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