They introduce a world of witches, ghosts, and fantastic creatures that invade the mind, particularly during dreams, nightmarish visions symbolizing a world against reason. In 1799, he completed and published a suite of eighty allegorical etchings called the Caprichos Out Hunting for Teeth ( 18.64.12) and The Sleep of Reason Produces Monsters ( 18.64.43) are two etchings from this series. Having survived an extended period of illness in Cádiz, Goya emerged months later completely deaf, but able to return to Madrid in 1793. His social standing is conveyed in his demeanor and the quality of his clothing, and his role as an astute collector of books, prints, and paintings is suggested by the sheet of paper in his hand. Goya’s remarkable portrait of his friend ( 06.289) captures the subject’s likeness and intensity by emphasizing his personal expression, inner character, and humanity. Around this time, Goya traveled to Cádiz in Andalusia with Sebastián Martínez y Pérez, a wealthy businessman and art collector. The year 1789 also marked the fall of the French monarchy (with Charles IV unwilling to assist his cousin Louis XVI), and in 1793 France declared war on Spain. In a later child’s portrait of astonishing emotional evocation ( 61.259), the symbolism alludes to Spain’s military struggle with France.Īt the age of forty, Goya was appointed painter to King Charles III, and, in 1789, he was promoted to court painter under the newly accessioned Charles IV (r. Manuel Osorio Manrique de Zuñiga ( 49.7.41), a portrait of the Altamiras’ third son, shows Goya’s interest in surface pattern and the play of light the caged birds symbolize the innocence of youth. The Condesa de Altamira and Her Daughter ( 1975.1.148) shows his skill at capturing the sensitivity of the sitters and his mastery of a painterly technique, which portrays in broad brushstrokes the brilliance of fine clothing and other accoutrements of wealth. Between 17, he painted executives and their families from the Bank of San Carlos, including the count of Altamira. Goya made these etchings upon Mengs’ suggestion that he study Velázquez portraits in the royal collection.Īs Goya continued to move in circles of royal patronage, he received more commissions from the aristocracy. In 1778, Goya produced a group of etchings based on paintings by Velázquez. However, before simplifying it, Goya preserved the original design in a copperplate etching, the largest print he ever made. The tapestry weavers, frustrated by its complex composition, returned the cartoon to Goya. The Blind Guitarist ( 22.63.29) was originally designed for the antechamber at El Pardo and comes from this genre. The tapestries glorify leisure activities of the rich, poor, young, and old in a playful Rococo manner comparable to the style of Tiepolo. Goya painted sixty-three cartoons for two royal palaces, which included nine hunting scenes for the dining room at San Lorenzo del Escorial and ten cartoons for tapestries destined for the dining room at El Pardo. The German painter Anton Raphael Mengs asked Goya to work on tapestry cartoons, or preliminary paintings, for the Royal Tapestry Factory at Santa Bárbara. Goya’s introduction to the royal workshops, a relationship that lasted the rest of his life and spanned four ruling monarchies, began in 1774. He visited Italy in 1770, after two failed attempts in drawing competitions at the Real Academia des Bellas Artes in San Fernando. In Madrid, the painter brothers Francisco (1734–1795) and Ramón Bayeu y Subías (1744–1793) had set up shop in 1763, and Goya soon joined their studio, eventually marrying their sister Josefa. Goya came to artistic maturity during this age of enlightenment. 1759–88) ruled the country as an enlightened monarch sympathetic to change, employing ministers who supported radical economic, industrial, and agricultural reform. Subsequently, the Bourbon king Charles III (r. In 1746, the year of Goya’s birth, the Spanish crown was under the rule of Ferdinand VI. Born in Fuendetodos, he later moved with his parents to Zaragoza and, at age fourteen, began studying with the painter José Luzán Martínez (1710–1785). Over the course of his long career, Goya moved from jolly and lighthearted to deeply pessimistic and searching in his paintings, drawings, etchings, and frescoes. Francisco José de Goya y Lucientes (1746–1828) is regarded as the most important Spanish artist of the late eighteenth and early nineteenth centuries.
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