the life of:

Francisco Goya

Portrait of Goya byVicente Lpez y Portaa

Francisco Jos de Goya y Lucientes (30 March 1746 16 April 1828)

Spanish romantic painter and printmaker Court painter to the Spanish Crown A commentator and chronicler of his era Goya is regarded as both the last of the Old Masters and the first of the moderns The subversive and imaginative element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet, Picasso and Francis Bacon.quote from source
Old Master: before 1800 Fully trained Worked independently Master of artists guild The Witches' Sabbath 1797-98 Oil on canvas 44 x 31 cm.

Intro

Born
Born: 30 March 1746 (Aries) In the town of Fuendetodos, Argn province, Spain To Jos and Gracia Spent the first part of his childhood there Father Jos was a gilder
Gilding refers to decorating solid surfaces with a thin layer of gold

Early Life
About 1749, around the age of 4, Goyas family moved to the city of Zaragoza Ten years later, at age 14, Goya enters apprenticeship under the painter Jos Luzn, a established artist in Spain with a successful academy Moved to Madrid where he studied with German painter Anton Raphael Mengs

Here he meets Francisco Bayeu, colleague and future brother-in-law

Anton, a precursor to neoclassical art, was popular with Spanish royalty Goya clashed with Anton and his examinations were unsatisfactory In 1763 and 1766, Goya submitted entries for the Royal Academy of Fine Art but was denied both times where he was appointed as a member years later
Self Portrait of Anton Mengs

Relocates to Rome Wins second prize in a painting competition in 1771

Early Life 2

Later the same year he returns to Zaragoza There he paints many frescoes in the Basilica of the Pillar, the Charterhouse of Aula Dei and the Sobradiel Palace.

Hannibal Contemplating Italy for the First Time, From the Alps (the painting that got him 2nd prize)

It is during the time he paints the frescoes that he develops his new and improved style.

Fresco in the charterhouse of Aula Dei

Early Life 3

Miracle of St. Anthony of Padau Goyas last fresco, painted in 1798

Early Life 4

Adoration of the Name of God 1772

Working for the Royal Court

On July 25th, 1773, Goya marries Josefa Bayeu whom he affectionately nicknamed Pepa

Early Life 5

In 1774, with some help from his brother-inlaw,Goya is called to Madrid to work for the Royal Tapestry Manufactory This marks the start of his career working for the royal court Not painting frescoes, now his task was to create designs for tapestries of everyday Spanish scenes Described as a bright, happy medley of folk scenes He designed about 40 patterns over the course of 5 years

The Dream of St. Joseph 1770-1772

Working on these designs brought his artistic talents to the attention of the Spanish monarchs
During this time he also painted a canvas for a church in Madrid , which led to his appointment as a member of the Royal Academy of Fine Art
El nio del rbol, from Goyas third tapestry series
Self Portrait in the Workshop by Francisco Goya, 1790-1795

Self portrait shortly before beginning to work on the tapestry designs

Early Life 6

Las gigantillas & La caza del jabal, from his first tapestry series

Early Life 7

Mid-Career
Goya is now a member of the Madrid Academy and he turns his attention to finding new patrons in Madrids high society Nearing the age of 40, Goya was now entering a happy, successful and carefree period in his life

Goya's career as painter to the aristocracy began with this life-sized portrait of Secretary of State of Floridablanca
This got him noticed by wealthy patrons and in a few years he went from humble tapestry designer to sought after portrait painter

Goya became friends with Don Luis de Borbon and spent the summers of 1783 and 1784 at his home, painting him and his family In 1786 Goya was given a salaried position as painter to Charles III Reaching the peak of his popularity with the royals in 1788 His portraits are notable for their reluctance to flatter, and in the case of Charles IV of Spain and His Family, the lack of visual diplomacy is remarkable. Modern interpreters have seen this portrait as satire; it is thought to reveal the corruption present under Charles IV. Under his reign his wife Louisa was thought to have had the real power, which is why she is placed at the center of the group portrait. From the back left of the painting you can see the artist himself looking out at the viewer, and the painting behind the family depicts Lot and his daughters, thus once again echoing the underlying message of corruption and decay.

Mid-Career 2

Portrait of the Duke of Osuna's Family ca.1789 Oil on canvas 225x174 cm Madrid, Prado

Mid-Career 3

Charles IV of Spain and His Family, 1800

Crisis and a New Start

Goya falls seriously ill in 1792 which marks a significant change in his career
The exact nature of the illness is unknown, but it leaves him deaf and Goya becomes withdrawn and introspective

Mid-Career 4

Takes a 5 year recuperating break

During this break he does a lot of experimental art The illness is a physical and mental crisis which permanently leaves its mark on the artist Deafness made him mistrustful of people but sharpens his visual perception He no longer ignores life's darker side and takes his imagination increasingly seriously Reflected in his art is the happiness, confusion and despair in his private life Short, passionate affair with the Duchess of Alba Self-Portrait in the Workshop 1790

Mid-Career 5

Self-Portrait 1795-1797
Reflected in his art is the happiness, confusion and despair in his private life Short, passionate affair with the Duchess of Alba Goya describes the series as "the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or selfinterest have made usual"

The Sleep of Reason Produces Monsters

Etched between 1797-1799

Mid-Career 6

Plate 43 of the 80 etchings making up Los Caprichos Intended to be the front piece Self portrait surrounded by owls (symbols of folly) and bats (symbols of ignorance) This series shows Goyas commitment to the creative process and the Romantic spirit The unleashing of imagination, emotions and even nightmares

Despite the social criticism his Caprichos receives, it does not damage Goyas reputation at court Appointed as First Court Painter in 1799

Mid-Career 7

As no artist before him, he was brave enough to portray the members of the ruling dynasty in all their banality and ugliness -so realistically that even today we have to see his portrayal of the royal family as an act of sheer audacity. What is all the more amazing is that royal patrons gave it their enthusiastic approval. Goya's ability to portray the unique features of an individual through the medium of paint was now reaching its peak, and for several years he dedicated himself almost exclusively to portrait painting

Portrait Study of the Infante Francisco de Paula

Countess of Chinchon

Manuel Godoy, Duke of Alcudia, 'Prince of the Peace'

Two of Goyas best known paintings

Maja

Mid-Career 8 Same woman, same pose majas

With no reference to allegorical or mythological meaning, the painting was the first totally profane lifesize female nude in Western art
Models identity is unknown, believed to be the Duchess of Alba or the mistress of Manual de Godoy, the owner The paintings were never publically exhibited during Goyas lifetime
The Nude Maja, ca. 1800 Said to be the first explicit depiction of female pubic hair in a large Western painting

The Clothed Maja, ca. 1803 the more chaste companion, but teasing, provocative, panel

Later Years
In 1808, French forces invade Spain Leads to the Peninsula War of 1808-1814 During this time he paints commissions for French patrons but kept himself neutral After the war Goya denies any involvement with the French His wife Josefa dies in 1812 Around this time he painted The Charge of the Mamelukes and The Third of May 1808 During this time he also starts preparing the prints later known as The Disasters of War

The Milkmaid 1826

Later Years 2

The Third of May 1808

1814

Later Years 3

The Second of May 1808 (The Charge of the Mamelukes)

Disasters of War
In the 1810s, Goya created a series of 82 etchings

titled Disasters of War

Seen as a visual protest against the violence of the Dos de Mayo Uprising 1808 and the Peninsula War 1808-1814 Disturbing scenes and macabre in their depiction of battelfield horror
Plate 3: The Same Thing

Not published until 1863, 35 years after death

only then considered politically safe
Plate 39: Great deeds! Against the Dead!

Disasters of War

Plate 1: Sad presentiments of what must come to pass.

The series is divided into three thematic groups

Disastersallegories of War War, famine and political/cultural

The first 47 plates focuses on war and the consequences of conflict on the individual The middle series (plates 48-64) refers to the famine that hit Madrid in 1811-1812 The final 17 prints reflect the disappointment of liberals when the restored monarchy rejects political and religious reform
Plate: 67

Plate: 41

Plate: 80

WAR

Disasters of War
Plate: 10

Plate: 9

Plate: 15 Plate: 18

Plate: 52

Famine

Plate: 59

Disasters of War

Plate: 62

Plate: 60

Plate: 70

Bourbons and clergy

Disasters of War
Plate: 74

Plate: 76

Plate: 71

The Black Paintings

1819, Goya buys a small country house outside Madrid

Black Paintings

He calls it Deaf Mans House

The same year, Goya again falls very ill and almost completely retires from public life after his recovery During this time he completes oil paintings directly onto the plaster of the walls These images were a reflection of dramatic, radical political change Many of the Black Paintings were taken down and transferred to canvas support Most of the murals suffered extensive damage and loss of paint
Saturn Devouring His Son 1823

Black Paintings 2

The Witches 1824 and A Pilgrimage to San Isidro 1823

Black Paintings 3

Duel with Cudgels 1823 and The Dog 1823

At the age of 77 Goya decides to leave his home

Due to political constraints

Outro

The prints Goya produced and possessed would have been seen as heretical and would be a punishable offence Along with his companion Leocadia, they travel to Bordeaux This becomes the final stage of Goyas life Goya kept experimenting with new artistic techniques up until his death at the age of 82 Goya fell ill again and passed away on April 15, 1828