Francisco Goya - Wikipedia, The Free Encyclopedia

Francisco Goya

Portrait of Francisco Goya by Vicente Lpez yPortaa (1826). Oil on canvas, 93 75 cm, Museo

del Prado, Madrid, Spain

Born Francisco Jos de Goya y Lucientes30 March 1746Fuendetodos, Aragn, Spain

Died 16 April 1828 (aged82)Bordeaux, France

Restingplace

Royal Chapel of St. Anthony of LaFlorida40.42536N 3.72560W

Nationality Spanish

Education Jos Luzn

Knownfor Painting, drawing, sculpture,printmaking

Movement Romanticism

Francisco GoyaFrom Wikipedia, the free encyclopedia

Francisco Jos de Goya y Lucientes (//;[1]Spanish:[fanisko xose e oa i lujentes]; 30 March1746 16 April 1828) was a Spanish romantic painter[2]and printmaker regarded both as the last of the OldMasters and the first of the moderns. Goya was courtpainter to the Spanish Crown; throughout the PeninsularWar he remained in Madrid, where he painted the portraitof Joseph Bonaparte, pretender to the Spanish throne, anddocumented the war in the masterpiece of studiedambiguity known as the Desastres de la Guerra.[3]Through his works he was both a commentator on andchronicler of his era. The subversive imaginative elementin his art, as well as his bold handling of paint, provided amodel for the work of artists of later generations, notablydouard Manet, Pablo Picasso and Francis Bacon.[4]

Contents1 Biography

1.1 Early years1.2 Mid-career1.3 Later years

2 Work2.1 Maja2.2 Darker subject matter2.3 Caprichos and tapestry cartoons2.4 The Disasters of War2.5 Black Paintings

3 Films4 Notes5 References6 Sources7 External links

Biography

Early years

Francisco de Goya -supposed self-portrait

La cometa, 177778, one of Goya'stapestry cartoons

Goya was born in Fuendetodos, Aragn, Spain, on 30 March 1746 to Jos Benito de Goya y Franque andGracia de Lucientes y Salvador. His family lived in a home bearingthe family crest of his mother. His father, who was of Basque origin,earned his living as a gilder.[5] About 1749, the family bought ahouse in the city of Saragossa and some years later moved into it;Goya may have attended school at Escuelas Pias. He formed a closefriendship with Martin Zapater at this time, and their correspondencefrom the 1770s to the 1790s is a valuable source for understandingGoya's early career at the court of Madrid. At age 14, Goya studiedunder the painter Jos Luzn, in Luzn's workshop he was copyingstamps for 4 years until he decided to work by his own, as he wrotelater on "paint from my invention".[6] He moved to Madrid where hestudied with Anton Raphael Mengs, a painter who was popular withSpanish royalty. He clashed with his master, and his examinations

were unsatisfactory. Goya submitted entries for the Real Academia de Bellas Artes de San Fernando in 1763and 1766, but was denied entrance.

He then relocated to Rome, where in 1771 he won second prize in apainting competition organized by the City of Parma. Later that year,he returned to Saragossa and painted parts of the cupolas of theBasilica of the Pillar (including Adoration of the Name of God), acycle of frescoes in the monastic church of the Charterhouse of AulaDei, and the frescoes of the Sobradiel Palace. He studied withFrancisco Bayeu y Subas and his painting began to show signs ofthe delicate tonalities for which he became famous.

Goya married Bayeu's sister Josefa (he nicknamed her "Pepa") on 25July 1773. This marriage, and Francisco Bayeu's membership of theReal Academia de Bellas Artes de San Fernando (from the year1765) helped Goya to procure work as a painter of designs to bewoven by the Royal Tapestry Factory. There, over the course of fiveyears, he designed some 42 patterns, many of which were used todecorate (and insulate) the bare stone walls of El Escorial and the Palacio Real del Pardo, the residences ofthe Spanish monarchs near Madrid. This brought his artistic talents to the attention of the Spanish monarchswho later would give him access to the royal court. He also painted a canvas for the altar of the Church ofSan Francisco El Grande in Madrid, which led to his appointment as a member of the Royal Academy ofFine Art.

Mid-career

In 1783, the Count of Floridablanca, a favorite of Charles III of Spain, commissioned Goya to paint hisportrait. He also became friends with Crown Prince Don Luis, and spent two summers with him, paintingportraits of both the Infante and his family. During the 1780s, his circle of patrons grew to include the Dukeand Duchess of Osuna, the King and other notable people of the kingdom whom he painted. In 1786, Goyawas given a salaried position as painter to Charles III. After the death of Charles III in 1788 and revolutionin France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.[7]

De Goya's 1790 Retrato deMartn Zapater at Museo de Artede Ponce, Ponce, Puerto Rico

Charles IV of Spain and His Family, 1800.Thophile Gautier described the figures aslooking like "the corner baker and his wifeafter they won the lottery".[8]

In 1789 he was made court painter to Charles IV and in 1799 was appointed First Court Painter with a salaryof 50,000 reales and 500 ducats for a coach. He painted the King and the Queen, royal family pictures,portraits of the Prince of the Peace and many other nobles. His portraits are notable for their disinclinationto flatter, and in the case of Charles IV of Spain and His Family, the lack of visual diplomacy isremarkable.[9] Modern interpreters have seen this portrait as social satire; it is thought to reveal thecorruption behind the rule of Charles IV. Under his reign his wife Louisa was thought to have had the realpower, and thus Goya placed her at the center of the group portrait. From the back left of the painting one

can see the artist himselflooking out at the viewer,and the painting behind thefamily depicts Lot and hisdaughters, thus once againechoing the underlyingmessage of corruption anddecay.

Goya received orders frommany of the Spanishnobility. Among those fromwhom he procured portraitcommissions were PedroTllez-Girn, 9th Duke ofOsuna and his wife MaraJosefa Pimentel, 12thCountess-Duchess ofBenavente, Mara del Pilar de Silva, 13th Duchess of Alba (universallyknown simply as the "Duchess of Alba"), and her husband Jos Mara

lvarez de Toledo, 15th Duke of Medina Sidonia, and Mara Ana de Pontejos y Sandoval, Marchioness ofPontejos.

At some time between late 1792 and early 1793, a serious illness (the exact nature of which is not known)left Goya deaf, and he became withdrawn and introspective. During his recuperation, he undertook a seriesof experimental paintings. His experimental artwhich would encompass paintings and drawings as well asa bitterly expressive series of aquatinted etchings, published in 1799 under the title Caprichoswas done inparallel to his more official commissions of portraits and religious paintings. In 1798 he painted luminousand airy scenes for the pendentives and cupola of the Real Ermita (Chapel) of San Antonio de la Florida inMadrid. Many of these depict miracles of Saint Anthony of Padua set in the midst of contemporary Madrid.

Later years

French forces invaded Spain in 1808, leading to the Peninsular War of 18081814. The extent of Goya'sinvolvement with the court of the "Intruder king", Joseph I, the brother of Napoleon Bonaparte, is notknown; he did paint works for French patrons and sympathisers, but kept neutral during the fighting. Afterthe restoration of the Spanish king, Ferdinand VII, in 1814, Goya denied any involvement with the French.When his wife Josefa died in 1812, he was mentally and emotionally processing the war by painting TheCharge of the Mamelukes and The Third of May 1808, and preparing the series of prints later known as The

The Third of May 1808, 1814. Oil oncanvas, 266 345 cm. Museo delPrado, Madrid

The Milkmaid of Bordeaux, 182527, is the third and final Goyaportrait which may depictLeocadia Weiss. This might alsobe of Leocadia's daughterRosario.[15] Its colourisation andmood is very similar to theLecodia "Black Painting".

It is not known whetherthis 1805 Goya portrait isof his wife Josefa Bayeuor of Leocadia Weiss

Disasters of War (Los desastres de la guerra). Ferdinand VIIreturned to Spain in 1814 but relations with Goya were not cordial.He painted portraits of the king for a variety of organizations, but notfor the king himself.

Leocadia Weiss (ne Zorrilla, b. 1790)[10][11] the artist's maid,younger by 35 years, and a distant relative,[12] lived with and caredfor Goya after Bayeu's death. She stayed with him in his Quinta delSordo villa until 1824 with her daughter Rosario.[13] Leocadia wasprobably similar in features to Goya's first wife Josefa Bayeu, to thepoint that one of his well known portraits bears the cautious title ofJosefa Bayeu (or Leocadia Weiss).[14]

Not much is known about her beyond her fiery temperament. She waslikely related to the Goicoechea family, a wealthy dynasty into whichthe artist's son, the feckless Javier, had married. It is believed she heldliberal political views and was unafraid of expressing them, a fact metwith disapproval by Goya's family. It is known that Leocadia had anunhappy marriage with a jeweler, Isideo Weiss, but was separated fromhim since 1811. Her husband cited "illicit conduct" during the divorceproceedings. She had two children before the marriage dissolved, andbore a third, Rosario, in 1814 when she was 26. Isideo was not thefather, and it has often been speculatedalthough with little firmevidencethat the child belonged to Goya.[16] There has been muchspeculation that Goya and Weiss were romantically linked, however, itis more likely the affection between them was sentimental.[17]

Goya's works from 1814 to 1819 aremostly commissioned portraits, but alsoinclude the altarpiece of Santa Justa andSanta Rufina for the Cathedral of Seville,the print series of La Tauromaquiadepicting scenes from bullfighting, andprobably the etchings of Los Disparates.

In 1819, with the idea of isolating himself, he bought a country house by theManzanares river just outside of Madrid. It was known as the Quinta del Sordo(roughly, "House of the Deaf Man", titled after its previous owner and not afterGoya himself). There he created the Black Paintings with intense, hauntingthemes, reflective of the artist's fear of insanity and his outlook on humanity.Several of these, including Saturn Devouring His Son, were painted directlyonto the walls of his dining and sitting rooms.

Goya lost faith in or became threatened by the restored Spanish monarchy'santi-liberal political and social stance and left Spain in May 1824 for Bordeaux

and then Paris.[11] He travelled to Spain in 1826, but returned to Bordeaux, where he died of a stroke in

The Nude Maja, ca. 1800. Said to be thefirst explicit depiction of female pubic hairin a large Western painting, though othershad hinted at it before

The Clothed Maja, ca. 1803, the morechaste, but teasingly provocative,companion panel

1828, at the age of 82. He was of the Catholic faith and was buried in Bordeaux; in 1919 his remains weretransferred to the Royal Chapel of St. Anthony of La Florida in Madrid.

Leocadia was left nothing in Goya's will; mistresses were often omitted in such circumstances, but it is alsolikely that he did not want to dwell on his mortality by thinking about or revising his will. She wrote to anumber of Goya's friends to complain of her exclusion but many of her friends were Goya's also and by thenthey were old men and had died, or died before they could reply. Largely destitute she moved into rentedaccommodation and passed on her copy of the Caprichos for free.[18]

WorkSee also List of works by Francisco Goya

Goya painted the Spanish royal family, including that of Charles IV of Spain and of Ferdinand VII. Histhematic range extended from merry festivals for tapestries, draft cartoons, to scenes of war and humandebasement. This evolution reflects the darkening of his temper. Modern physicians suspect that the lead inhis pigments poisoned him and caused his deafness after 1792. Near the end of his life, he became reclusiveand produced frightening and obscure paintings of insanity, madness, and fantasy, while the style of theBlack Paintings prefigures the expressionist movement.

Maja

Two of Goya's best known paintings are The Nude Maja (Lamaja desnuda) and The Clothed Maja (La maja vestida). Theydepict the same woman in the same pose, naked and clothed,respectively. Without a pretense to allegorical or mythologicalmeaning, the painting was "the first totally profane life-sizefemale nude in Western art".[19]

The identity of the Majas is uncertain. The most popularly citedmodels are the Duchess of Alba, with whom Goya wassometimes thought to have had an affair, and Pepita Tud,mistress of Manuel de Godoy. Neither theory has been verified,and it remains as likely that the paintings represent an idealizedcomposite.[20] The paintings were never publicly exhibitedduring Goya's lifetime. They were owned by Godoy, the PrimeMinister of Spain and a favorite of the Queen, Mara Luisa.[21]In 1808 all Godoy's property was seized by Ferdinand VII afterhis fall from power and exile, and in 1813 the Inquisitionconfiscated both works as 'obscene', returning them in 1836 tothe Academy of Fine Arts of San Fernando.[22]

Darker subject matter

Yard with Lunatics, 1794. Oil ontin-plated iron, 43.8 x 32.7cm

In a period of convalescence during 17931794, Goya completed a set of eleven small pictures painted ontin; known as Fantasy and Invention, they mark a significant change in his art. They no longer represent the

world of popular carnival depicted in several of his tapestry cartoons, butrather a dark and dramatic realm of fantasy nightmare. Yard withLunatics is a horrifying, imaginary vision of loneliness, fear, and socialalienation a departure from the rather more superficial treatment ofmental illness in the works of earlier artists such as Hogarth. Thecondemnation of brutality towards prisoners (whether criminal or insane)is a subject that Goya assayed in later works[23] that focused on thedegradation of the human figure.[24]

As he completed Yard with Lunatics, Goya was himself undergoing aphysical and mental breakdown. It happened a few weeks after theFrench declaration of war on Spain, and Goyas illness was developing.A contemporary reported, "The noises in his head and deafness arentimproving, yet his vision is much better and he is back in control of hisbalance."[25] These symptoms may indicate a prolonged viralencephalitis, or possibly a series of miniature strokes resulting from highblood pressure and which affected the hearing and balance centers of the

brain. The triad of tinnitus, episodes of imbalance, and progressive deafness are also typical of Mnire'sdisease.[26] It is even possible that Goya suffered from cumulative lead poisoning, as he used massiveamounts of lead white in his paintings, both as a canvas primer and as a primary color.[27][28] Otherpostmortem diagnostic assessments point toward paranoid dementia due to an unknown brain trauma(perhaps resulting from the unknown illness which he reported). If this is the case, from here on we see aninsidious assault on his faculties manifesting as paranoid features in his paintings, and culminating in hisblack paintings, especially Saturn Devouring His Sons.[29] Yet through his artistry Goya could transform hispersonal demons into horrific and fantastic imagery that speaks universally, and allows his audience to findits own catharsis in these images.[30]

Caprichos and tapestry cartoons

In 1799 Goya published a series of 80 prints titled Caprichos depicting what he described as "theinnumerable foibles and follies to be found in any civilized society, and from the common prejudices anddeceitful practices which custom, ignorance, or self-interest have made usual".[31]

The dark visions depicted in these prints are partly explained by his caption, "The sleep of reason producesmonsters". Yet these are not solely bleak in nature and demonstrate the artist's sharp satirical wit,particularly evident in etchings such as Hunting for Teeth. Additionally, one can discern a thread of themacabre running through Goya's work, even in his earlier tapestry cartoons.[note 1] Mostly popularist in arococo style, the cartoons were completed early in his career, when he was largely unknown and activelyseeking commissions. In 1774, he was asked by the German artist Anton Raphael Mengs, on behalf of theSpanish crown, to undertake the series. While designing tapestries was neither prestigious nor well paid,Goya used them, along with his early engravings, to bring himself to wider attention.[32] They afforded hisfirst contact with the Spanish monarchy that was to eventually appoint him court painter.[33]

The Sleep of ReasonProduces Monsters, c. 1797,21.5 cm 15 cm. One of themost famous prints of LosCaprichos.

What more can one do?, from TheDisasters of War, 181215

Witches' Sabbath or Aquelarre is one of 14 from the Black Paintingsseries.

The Disasters of War

In the 1810s, Goya created a set of aquatint prints titled The Disasters ofWar. Although he did not make known his intention when creating theplates, art historians view them as a visual protest against the violence of the1808 Dos de Mayo Uprising, the subsequent Peninsular War of 180814 andthe setbacks to the liberal cause following the restoration of the Bourbonmonarchy in 1814. The scenes are singularly disturbing, sometimes macabrein their depiction of battlefield horror, and represent an outraged consciencein the face of death and destruction.[34] They were not published until 1863,35 years after his death. It is likely that only then was it consideredpolitically safe to distribute a sequence of artworks criticising both theFrench and restored Bourbons.[35]

The first 47 plates in the series focus on incidents from the war and show theconsequences of the conflict on individual soldiers and civilians. The middleseries (plates 48 to 64) record the effects of the famine that hit Madrid in181112, before the city was liberated from the French. The final 17 reflectthe bitter disappointment of liberals when the restored Bourbon monarchy,encouraged by the Catholic hierarchy, rejected the SpanishConstitution of 1812 and opposed both state and religious reform.Since their first publication, Goya's scenes of atrocities, starvation,degradation and humiliation have been described as the "prodigiousflowering of rage".[36]

Black Paintings

In later life Goya bought a house, calledQuinta del Sordo ("Deaf Man's House"),and painted many unusual paintings oncanvas and on the walls, includingreferences to witchcraft and war. One ofthese is the famous work SaturnDevouring His Son (known informally in

some circles as Devoration or Saturn Eats His Child), which displays a Greco-Roman mythological scene ofthe Titan Saturn consuming a child, possibly a reference to Spain's ongoing civil conflicts.[37] The series hasbeen described as "the most essential to our understanding of the human condition in modern times, just asMichelangelo's Sistine ceiling is essential to understanding the tenor of the 16th century".[38]

At the age of 75, alone and in mental and physical despair, he completed the work as one of his 14 BlackPaintings,[note 2] all of which were executed in oil directly onto the plaster walls of his house. Goya did notintend for the paintings to be exhibited, did not write of them,[note 3] and likely never spoke of them.[39] Itwas not until around 1874, some 50 years after his death, that they were taken down and transferred to acanvas support. Many of the works were significantly altered during the restoration, and in the words ofArthur Lubow what remain are "at best a crude facsimile of what Goya painted."[40] The effects of time onthe murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumblingplaster on canvas, meant that most of the murals suffered extensive damage and loss of paint. Today theyare on permanent display at the Museo del Prado, Madrid.

FilmsGoya's Ghosts (2006) is a film directed by Academy Award winner Milo Forman.Volavrunt (1999) directed by Bigas Luna and based on the homonym novel of Antonio Larreta.Goya in Bordeaux (1999) Spanish historical drama film written and directed by Carlos Saura aboutthe life of Francisco de Goya.Goya - Der lange Weg der Erkenntnis (1971) is an East German film directed by Konrad Wolf.The Naked Maja (1958) directed by Henry Koster. A film about the painter Francisco Goya and theDuchess of Alba; Anthony Franciosa played Goya and Ava Gardner played The Duchess.

Notes1. The word cartoon is derived from the Italian cartone, which describes a large sheet of paper used in preparation

for a later painting or tapestry.2. A contemporary inventory compiled by Goya's friend, the painter Antonio de Brugada, records 15. See Lubow,

20033. As he had with for the "Caprichos" and "The Disasters of War" series. Licht 159

References1. "Goya" (http://dictionary.reference.com/browse/francisco+goya). Random House Webster's Unabridged

Dictionary.2. Fred Kleiner (7 January 2009). Gardner's Art through the Ages: The Western Perspective

(http://books.google.com/books?id=UK_jTggtYl8C&pg=PT283). Cengage Learning. p.283. ISBN0-495-57364-7. "Romantic artists, including Francisco Goya in Spain and Thodore Gricault and Eugne Delacroix in France,explored the exotic, erotic, and fantastic in their paintings."

3. Esdaile 2003, p.235.4. Rico, Pablo J., Goya and Modernism, XXIII Bienal Internacional de So Paulo

(https://web.archive.org/web/20080117072537/http://www1.uol.com.br/bienal/23bienal/especial/iego.htm) at theWayback Machine (archived January 17, 2008), archived from the original(http://www1.uol.com.br/bienal/23bienal/especial/iego.htm) on 17 January 2008.

5. Connell, 676. Connell, 147. Galeria de Arte transparencias Ancora A Todo Color 1961 Goya biography from the Museo del Prado. As

quoted on eeweems.com (http://eeweems.com/goya/1961_prado_bio.html)8. Chocano, Carina. "Goya's Ghosts (http://www.latimes.com/entertainment/news/movies/cl-et-

goya20jul20,1,399263.story?ctrack=1&cset=true)". Los Angeles Times, 20 July 2007. Retrieved on 18 January2008.

9. Licht, Fred: Goya: The Origins of the Modern Temper in Art, page 68. Universe Books, 1979. "Even if one takes

9. Licht, Fred: Goya: The Origins of the Modern Temper in Art, page 68. Universe Books, 1979. "Even if one takesinto consideration the fact that Spanish portraiture is often realistic to the point of eccentricity, Goya's portraitstill remains unique in its drastic description of human bankruptcy".

10. Junquera, 1311. Stevenson, 24312. Gassier, 10313. Buchholz, 7914. Connell, 2815. Hughes, 40216. Hughes, 37217. Junquera, 6818. Connell, 23519. Licht, 8320. "The Nude Maja, the Prado (http://www.museodelprado.es/en/the-collection/online-gallery/on-line-

gallery/obra/the-nude-maja/)". Retrieved 17 July 2010.21. The unflinching eye. (http://www.guardian.co.uk/artanddesign/2003/oct/04/art.biography). The Guardian,

October 2003.22. Museo del Prado, Catlogo de las pinturas. Ministerio de Educacin y Cultura, Madrid, 1996. 138. ISBN 84-

87317-53-723. Thomas Crow (2007). "3: Tensions of the Enlightenment, Goya". In Stephen Eisenman. Nineteenth Century Art.:

A Critical History (https://www.msu.edu/course/ha/445/crowgoya.pdf) (PDF) (3 ed.). New York: Thames andHudson. Retrieved 12 October 2013.

24. Licht, 15625. Siri Hustvedt (10 August 2006). Mysteries of the Rectangle: Essays on Painting (http://books.google.com/books?

id=vBOmcfgBzswC&pg=PA63). Princeton Architectural Press. p.63. ISBN978-1-56898-618-0.26. Mary Mathews Gedo (1985). Psychoanalytic Perspectives on Art: PPA (http://books.google.com/books?

id=nbDpAAAAMAAJ). Analytic Press. p.82. ISBN978-0-88163-030-5.27. James G. Hollandsworth (31 January 1990). The Physiology of Psychological Disorders: Schizophrenia,

Depression, Anxiety and Substance Abuse (http://books.google.com/books?id=FuFjEEwspusC&pg=PA3).Springer. pp.34. ISBN978-0-306-43353-5.

28. Evan S. Connell (2004). Francisco Goya (http://books.google.com/books?id=G9dqaVhtkVEC&pg=PA78).Counterpoint Press. pp.7879. ISBN978-1-58243-307-3.

29. Petra ten-Doesschate Chu; Laurinda S. Dixon (2008). Twenty-first-century Perspectives on Nineteenth-centuryArt: Essays in Honor of Gabriel P. Weisberg (http://books.google.com/books?id=wGPPe8l-HmwC&pg=PA127).Associated University Presse. p.127. ISBN978-0-87413-011-9.

30. Paul Williams (3 February 2011). The Psychoanalytic Therapy of Severe Disturbance(http://books.google.com/books?id=evXyjSkj22QC&pg=PA238). Karnac Books. p.238. ISBN978-1-78049-298-8.

31. The Sleep of Reason (http://www.worldandi.com/newhome/public/2004/february/bkpub1.asp) Linda Simon(www.worldandi.com). Retrieved 2 December 2006.

32. Hagen & Hagen, 733. Hughes, 10334. Wilson-Bareau, 4535. Jones, Jonathan. "Look what we did

(http://www.guardian.co.uk/culture/2003/mar/31/artsfeatures.turnerprize2003)". The Guardian, 31 March 2003.Retrieved 29 August 2009.

36. Connell, 17537. Adrian Shubert (3 October 2003). A Social History of Modern Spain (http://books.google.com/books?

id=f7DaseuBh8oC). Taylor & Francis. p.288. ISBN978-0-203-42121-5. Retrieved 21 May 2013.38. Licht, 16739. Licht, 15940. Lubow, Arthur. "The Secret of the Black Paintings

(http://www.nytimes.com/2003/07/27/magazine/27GOYA.html)". New York Times, 27 July 2003. Retrieved 3October 2010.

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SourcesCiofalo, John J. The Self-Portraits of Francisco Goya. Cambridge University Press, 2002Tomlinson, Janis. Francisco Goya y Lucientes 17461828'.' Phaidon, 1999, 1994.Buchholz, Elke Linda. Francisco de Goya. Cologne: Knemann, 1999. ISBN 3-8290-2930-6Connell, Evan S. Francisco Goya: A Life. New York: Counterpoint, 2004. ISBN 1-58243-307-0Gassier, Pierre. Goya: A Biographical and Critical Study. New York: Skira, 1955Havard, Robert. "Goya's House Revisited: Why a Deaf Man Painted his Walls Black". Bulletin ofSpanish Studies, Volume 82, Issue 5 July 2005. 615 639Hughes, Robert. Goya. New York: Alfred A. Knopf, 2004. ISBN 0-394-58028-1Junquera, Juan Jos. The Black Paintings of Goya. London: Scala Publishers, 2008. ISBN 1-85759-273-5Licht, Fred. Goya: The Origins of the Modern Temper in Art. Universe Books, 1979. ISBN 0-87663-294-0Litroy, Jo. "Jusqu' la mort". Paris: Editions du Masque, 2013. ISBN 978-2702440193.

External linksGoya in Aragon Foundation: Online catalogue(http://www.fundaciongoyaenaragon.es/goya/obra/catalogo/)Goya, the Secret of the Shadows(http://www.milagrosproducciones.com/goya/), a documentaryfilm by David Mauas, Spain, 2011, 77'Caprichos (http://www.gasl.org/refbib/Goya__Caprichos.pdf)PDF(10.0MB) (PDF in the ArnoSchmidt Reference Library (http://www.gasl.org/as/referenz))Desastres de la guerra (http://www.gasl.org/refbib/Goya__Guerra.pdf)PDF(10.6MB) (PDF in theArno Schmidt Reference Library (http://www.gasl.org/as/referenz))Disasters of War at all-art.org (http://www.all-art.org/neoclasscism/goya_war1.html)Etching series by Goya (http://djelibeibi.unex.es/libros/Goya/)His Majestys Giant Anteater A New Goya is Discovered! (http://www.artwis.com/articles/his-majestys-giant-anteater-a-new-goya-is-discovered/){fr} Bibliothque numrique de l'INHA Estampes de Francisco de Goya (http://bibliotheque-numerique.inha.fr/collection/?r=Top%2Fdl_category%2Festampes%2Festampes+de+francisco+de+goya+%281746-1828%29&navigation=0&dq=%23reset&dq=%23reset)Goya in the Metropolitan Museum of Art(http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/69630), anexhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)Prints & People: A Social History of Printed Pictures(http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/94303/rec/1), anexhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), whichcontains a significant amount of material on the prints of GoyaFracisco Goya Prints (http://ccdl.libraries.claremont.edu/cdm/landingpage/collection/fgp) in theClaremont Colleges Digital Library

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Categories: Francisco Goya 1746 births 1828 deaths People from Campo de Belchite Deaf artists

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