|Francisco Goya 1746-1828||BACK
|Goya was a child prodigy who could draw like an angel. He was a master of styles, innovative, brisk, and unerring. Like Picasso , Goya painted a bewildering variety of moods and subjects, almost switching back and forth at will between the sweet and the sad. He could depict his mistress, the raven-haired noble Countess of Alba, both naked and clothed, as one of the most fetching women of history. After being afflicted by deafness Goya painted jet black images of tremendous power, showing Saturn devouring his children alive. Goya's art can be defined by duality: public and private, light and dark, beautiful and grotesque. It has always been a mystery how certain artists can take a pen or a pencil or an engraved line and make it come to life. The black scrawls of Goya seem to be able to breath and speak because it is so vital.
Even less conventional than the San Antonio frescoes are Goya's
portraits of his royal patrons. From the time of their accession until
1800, Charles IV and Maria Luisa sat to him on many occasions, and
many replicas were made of his portraits of them. He painted them in
various costumes and poses, ranging from the early decorative portraits
in full regalia in the existing tradition of Mengs to the simpler
and more natural compositions in the manner of Veldzquez, who
directly inspired the large equestrian portraits in the Museo del Prado.
But while following traditional compositions for these state
portraits, Goya creates an effect of pomposity rather than majesty and
the faces of his sitters reveal a penetrating scrutiny of character.
Nowhere is this more striking than in the portrait of Charles IV and his
Family. Though Goya doubtless had in mind Veldzquez's
unique royal portrait, Las Meninas, which he had copied in an engraving
years before. Goya, like Veldzquez, has put himself in the
picture at his easel, but his royal assembly lacks any semblance
of courtly dignity and elegance. Moreover, despite the official
character of the painting and his official position, he has accentuated
the ugliness and the vulgarity of the principal figures so vividly as to
produce an effect almost of caricature. Theophile Gautier, writing of
this picture, remarks that the King 'looks like a grocer who has just
won the lottery prize, with his family around him'.
|The Parasol, 1777
The Spell, 1797
Jose Costa y Bonells, called Pepito, n.d.
The Clothed Maja, 1800
Family of Carlos IV, 1800
El Maragato, 1806
Majas on a Balcony, 1808
Majas on a Balcony(attributed to), n.d.
Self Portrait, 1815
The Bullfight, 1816
The Procession, 1816
Self Portrait with Dr Arrieta, 1820
Portrait of Tio Paquete, 1820
Two Old Women Eating, 1821
Monk Talking to an Old Woman, 1824
Visit Goya's Black Paintings at the Artchive.
This listing of artists is not official. It is merely intended to group the artists in an easy to navigate format.
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|NeoClassicism and Romanticism||ABC List
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