Francisco José de
Goya y Lucientes – Spanish 1746-1828
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Goya by by Vicente
Lopez, 1826
Francisco José de Goya y Lucientes was
an innovative Spanish painter and etcher; one of the triumvirate—including
El Greco and Diego Velázquez—of great Spanish masters.
Much in the art of Goya is derived from that of Velázquez,
just as much in the art of the 19th-century French master Edouard
Manet and the 20th-century genius Pablo Picasso is taken from
Goya. Trained in a mediocre rococo artistic milieu, Goya transformed
this often frivolous style and created works, such as the famous
Third of May, 1808 (1814, Museo del Prado, Madrid), that
have as great an impact today as when they were created.
A consummately Spanish artist, his multifarious paintings, drawings,
and engravings reflected contemporary historical upheavals and
influenced important 19th- and 20th-century painters. The series
of etchings Los desastres de la guerra ("The Disasters
of War", 1810-14) records the horrors of the Napoleonic
invasion. For the bold technique of his paintings, the haunting
satire of his etchings, and his belief that the artist's vision
is more important than tradition, Goya is often called "the
first of the moderns." His uncompromising portrayal of
his times marks the beginning of 19th-century realism.
He was born in Fuendetodos (Zaragoza), and was apprenticed to
Jose Luzan and Francisco Bayeu, whose sister he later married.
He went to Italy and upon returning to Spain, he painted frescoes
for the local cathedral in Zaragoza, and painted carton (designs)
for the royal tapestry factory in Madrid, mostly scenes of everyday
life. At the same time, he became established as a portrait
painter to the Spanish aristocracy.
He was elected to the Royal Academy of San Fernando in 1780,
named painter to the king in 1786, and court painter in 1789
(was appointed first Spanish court painter in 1799).
A serious illness in 1792 left Goya permanently deaf and he
became increasingly occupied with the fantasies and inventions
of his imagination and with critical and satirical observations
of mankind. He evolved a bold, free new style close to caricature.
In 1824, after the failure of an attempt to restore liberal
government, Goya went into voluntary exile in Bordeaux (France),
continuing to work until his death there in 1828.
Francisco Goya (1746-1828) has often been called "the Father
of Modern Art." One of Spain's most revered and controversial
painters, known for his intense, chilling, sometimes-grotesque
images, he portrayed the horrors of war and societies in peril
with a power that remains unmatched today. This Spanish-language
book samples every major style by this master.
The
Black Paintings of Goya
by Juan Jose Junquera – Paperback: 96 pages
Publisher: Scala Publishers (November 1, 2003)
Goya
by Fred Licht – Hardcover: 360 pages Publisher: Abbeville
Press; 1st edition (November 1, 2001) 297 illustrations, 276
in full color. 360 pages
Newly revised and lavishly illustrated, this acclaimed study
of Spanish master Francisco Goya reveals the artist as a pioneer
of modern art and culture.
Stunning color reproductions comprehensively
survey Goya's paintings and prints in this essential
study of his art and its impact on the modern
world. Fred Licht's masterful text, revised
and updated for this edition, has been hailed
as "brilliant" and "profound,"
one of the most original and illuminating studies
of a modern European artist.
Born in 1746 in a small Aragonese town, Goya
rose to prominence in Madrid in the period around
1780, being named court painter in 1786. The
atrocities of the Napoleonic period and the
repressions of the restored Bourbon regime led
Goya to paint his greatest works, now recognized
as harbingers of modern art. Goya died in exile
in France in 1828.
Organized according to the mediums and genres
in which the artist worked, Goya is a series
of investigations of those aspects of Goya's
art that make it especially relevant today.
By focusing closely on the work, Licht also
illuminates, as few before him have done, the
enigmatic personality of this artist, who, as
the author affirms, "first fixed the courage
and the despair of our modern age."
Goya: Images of Women by Janis Tomlinson
(Editor) Hardcover: 368 pages
Publisher: Yale University Press (March 1, 2002)
Francisco Goya y Lucientes (1746-1828) created
magnificent paintings, tapestry designs, prints,
and drawings over the course of his long and
productive career. Women frequently appeared
as the subjects of Goya's works, from his brilliantly
painted cartoons for the Royal Tapestry Factory
to his stunning portraits of some of the most
powerful women in Madrid. This groundbreaking
book is the first to examine the representations
of women within Goya's multifaceted art, and
in so doing, it sheds new light on the evolution
of his artistic creativity as well as on the
roles assumed by women in late eighteenth- and
early nineteenth-century Spain. Many of Goya's
most famous works are featured and explicated
in this beautifully designed and produced book.
The artist's famous tapestry cartoons are included,
along with the tapestries woven after them for
the royal palaces of the Prado and the Escorial.
Goya's infamous Naked Maja and Clothed Maja
are also highlighted, with a discussion on whether
these works were painted at the same time and
how they might have originally hung in relation
to one another. Focus is also placed on Goya's
more experimental prints and drawings, in which
the artist depicted women alternatively as targets
of satire, of sympathy, or of admiration. Essays
by eminent authorities provide a historical
and cultural context for Goya's work, including
a discussion on the significance of fashion
and dress during the period. The resultant volume
is surely to be treasured by all who admire
Goya's art and by those who are interested in
women's issues of his time.
Modern interpretations of Goya as a political
artist, proto-Romantic rebel, fantasist or realist
capture partial truths about the protean Spanish
painter, suggests Columbia University art history
professor Tomlinson in this meticulous, sumptuously
illustrated study featuring 210 color and 70
black-and-white plates. By viewing Goya's career
as a lifelong experiment with image-making,
she shows how his art became a self-perpetuating
process as his works fed off one another. Tomlinson
argues unpersuasively that Goya's royal portraits,
usually seen as savage satires, actually evince
sympathy for his often homely or awkward subjects.
She is more successful in elucidating his kaleidoscopic
view of evil in the Los Caprichos etchings,
his innovative small-scale oils and his investigations
of irrationality and destructiveness in scenes
of madhouses, war, the Inquisition and popular
spectacles.
Copyright 1994 Reed Business Information, Inc.
This paperback edition of the award-winning study of the life
and work of Goya is filled with the same fine reproductions
as the original 1994 hardcover. Goya was one of Spain's greatest
and most controversial painters, famous for incisive portraits
and the "black" paintings of his later years.
Goya
(Art and Ideas) by Sarah Symmons –
Paperback, 352 pages (October 1998) Phaidon
Press Inc.
Goya
in the Metropolitan Museum of Art by
Colta Feller Ives, Susan Alyson Stein, Metropolitan
Museum of Art – Hardcover: 80 pages
Publisher: Museum (September 1995)
Goya in the Metropolitan Museum of Art by Colta Feller
Ives, Susan Alyson Stein, Metropolitan Museum of Art –
Paperback: 80 pages Publisher: Metropolitan Museum of
Art (1995)
NOTE: Also available in a six-tape
boxed
set featuring Goya, Whistler, Courbet, Freidrich,
Rossetti, Delacroix
Goya
by Silvia Riboldi – Reading level: Ages 9-12 Library
Binding - 64 pages (August 1999) Peter Bedrick Books
Goya's
Last Works by Jonathan Brown, Susan Grace Galassi Hardcover:
224 pages Publisher: Yale University Press (March 2, 2006)
Francisco José de Goya y Lucientes (1746–1828) spent
the last four years of his life living in Bordeaux with other
political émigrés from Spain and South America.
In those years he created small-scale, intimate pieces, including
uncommissioned portraits of friends and family, miniature paintings
on ivory plaques, and numerous drawings and lithographs. These
works attest to the artist’s continuing vitality in his
old age and also offer insight into his life in Bordeaux.
This beautiful book presents fifty-one key works from Goya’s
late period along with two essays that illuminate his works
of that time. Jonathan Brown retells the story of Goya’s
difficult years in exile when he nevertheless continued to make
art, experimenting with the new medium of lithography, inventing
a technique of miniature painting on ivory, and painting remarkable
portraits of friends and supporters. Susan Grace Galassi describes
the rich historical and cultural milieu of Bordeaux and establishes
a biographical context and sense of place that underscore the
triumph of Goya’s final achievement.
Goya
by Werner Hofmann, Francisco Goya – Hardcover: 344 pages
Publisher: Thames & Hudson (November 24, 2003)
Goya by Robert Hughes – Hardcover: 448 pages
Publisher: Knopf (November 11, 2003)
With his salient passion for the artist and the art, Hughes
brings Goya vividly to life through dazzling analysis of a vast
breadth of his work. Building upon the historical evidence that
exists, Hughes tracks Goya’s development, as man and artist,
without missing a beat, from the early works commissioned by
the Church, through his long, productive, and tempestuous career
at court, to the darkly sinister and cryptic work he did at
the end of his life.
In a work that is at once interpretive biography and cultural
epic, Hughes grounds Goya firmly in the context of his time,
taking us on a wild romp through Spanish history; from the brutality
and easy violence of street life to the fiery terrors of the
Holy Inquisition to the grave realities of war, Hughes shows
us in vibrant detail the cultural forces that shaped Goya’s
work.
Underlying the exhaustive, critical analysis and the rich historical
background is Hughes’s own intimately personal relationship
to his subject. This is a book informed not only by lifelong
love and study, but by his own recent experiences of mortality
and death. As such this is a uniquely moving and human book;
with the same relentless and fearless intelligence he has brought
to every subject he has ever tackled, Hughes here transcends
biography to bring us a rich and fiercely brave book about art
and life, love and rage, impotence and death. This is one genius
writing at full capacity about another—and the result
is truly spectacular.
These two volumes follow 25 others in the "Pegasus Library"
series, advertised as presenting "the passions that drive
the masters." Waldmann, a Spanish art specialist, delves
into the suspicion some people have entertained over the centuries
that Francisco de Goya and one of his patrons, the 13th Duchess
of Alba, had an adulterous relationship. Some intriguing paintings,
drawings, and prints produced in the 1790s suggest that perhaps
they did, but the salacious quotes from a romantic novel and
a final image of the duchess's exhumed and decayed corpse are
more suited to a tabloid. In contrast, Zollner (art history,
Univ. of Leipzig) uses Sandro Botticelli's art to explore virtuous
love within marriage. He discusses the intended usage of the
paintings in Italian bridal chambers and cites classical and
Renaissance literary references for his analysis of iconographic
motifs in "La Primavera," "Birth of Venus,"
and several other paintings. Translated from German, the text
of both books flows clearly; they are sturdily constructed,
and the color illustrations complement the text well. Certain
aspects, however, such as the slender physical format and dust
jackets with erotic spine and cover designs, suggest that these
books are intended for gift-giving or collecting rather than
purchase by libraries. The exception would be libraries that
acquire every title on a particular artist. —Anne Marie
Lane, American Heritage Ctr., Laramie, WY Copyright 1998 Reed
Business Information, Inc.
Goya
- Reality & Invention
Format:
Color, NTSC
VHS Release Date: September 21, 2001
Run Time: 30 minutes
In 1973, at the age of 47, Goya suffered a near-fatal illness
which left him profoundly deaf. Had he not survived, the Goya
we now acknowledge as a universal and independent genius would
scarcely have existed. His talent for experimentation and observation
made his last thirty-five years the most productive of his life.
Goya's extraordinary inventive imagination permeates his paintings
and prints of this time, but is at its most immediate and palpable
in his drawings.
In eight separate albums, dating from 1796 to the time of his
death in 1826, he thought and re-thought and extemporized on
a vast range of subjects: from scenes of everyday life to the
horrors of war; religious pageants, from carnival to Holy Week;
extraordinary flights of fancy, nightmare and biting satire;
and a whole range of images, encompassing majas and monks, lunatics
and witches, charlatans and procuresses, dancers and roller-skaters,
youth and old age.
This video begins by taking a brief look at Goya's earlier career
before focusing on the period 1796-1828, exploring the drawings
and their context, examining his techniques and style as well
as his subject-matter.
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Goya:
1746-1828 (Taschen Basic Art)
Goya
Goya: Images of Women
by Elke Linda Bucholz – Paperback: 96 pages
Publisher: Konemann (May 2000)
Francisco
Goya Y Lucientes: 1746-1828
Goya
(Art and Ideas) 
Goya
in the Metropolitan Museum of Art 
Color, NTSC 
Color, NTSC 
Goya
Goya
Goya and the Duchess of Alba (Pegasus Library) 
Painting in Spain in the Age of Enlightenment: Goya and His
Contemporaries
