Francisco de Goya - part 5

Francisco de Goya was a Spanish artist widely considered one of the most important painters of the Romantic period. The artist took on a wide array of subject matter, including self-portraiture, fantasy scenes, landscapes, and still lifes. “Painting, like poetry, selects in the universe whatever she deems most appropriate to her ends,” he once explained. Born Francisco José de Goya y Lucientes in the town of Fuendetodos, Spain on March 30, 1746, he began studying art under the painter Jose Luzán at the age of 14. During the 1770s, Goya produced works such as The Parasol (1777), which meld the unlikely pairing of cheery Rococo aesthetics with the moody works of Diego Velázquez. 

The artist became the court painter of Charles III of Spain in 1786, and continued painting for the Spanish court until Napoleons invasion of Spain in 1808. During the Napoleonic wars, Goya’s palette significantly darkened as he produced some of his most famous works. Among these paintings are the The Second of May 1808 (1814) and The Third of May 1808 (1814), which show the terrors of war. Three years before he left his native country, Goya produced 14 paintings directly onto the plaster walls of his farmhouse. These works, collectively known as The Black Paintings (1821), depicted terrifying supernatural themes and heinous violence. 

Living in exile in Bordeaux, France, the artist died on April 16, 1828. His works went on to have a profound influence on both Édouard Manet and Pablo Picasso. Today, Goya’s works are held in the collections of the Art Institute of Chicago, the Hermitage Museum in St. Petersburg, the Prado Museum in Madrid, and the Louvre Museum in Paris, among others.

This is part 5 of a 10-part series on the works of Francisco de Goya.

1797-99 Los Caprichos continued from part 4:

Plate 44 They Spin Finely
etching and aquatint on ivory laid paper 21.5 x 15.2 cm (plate)

Plate 45 There is Plenty to Suck
etching and aquatint on ivory laid paper 20.6 x 15 cm (plate)

Plate 46 Correction
etching and aquatint on ivory laid paper 21.4 x 15 cm (plate)

Plate 48 Tale-Bearers - Blasts of Wind
etching and aquatint on ivory laid paper 20.6 x 15.1 cm (plate)

Plate 49 Hobgoblins
etching and aquatint on ivory laid paper 21.6 x 15.2 cm (plate)

Plate 50 The Chinchillas
etching and aquatint on ivory laid paper 20.5 x 15 cm (plate)

Plate 51 They Spruce Themselves Up
etching and aquatint in sepia on ivory laid paper
21 x 14.8 cm (plate)

Plate 52 What a Tailor Can Do!
etching, burnished aquatint, drypoint and burin on ivory laid paper 21.5 x 11.5 cm (plate)

Plate 53 What a Golden Beak!
etching and aquatint on ivory laid paper 21.6 x 15.1 cm (plate)

Plate 54 The Shamefaced one
etching and aquatint on ivory laid paper 21.5 x 15.5 cm (plate)

Plate 55 Until Death
 etching, burnished aquatint, and drypoint on ivory laid paper
21.5 x 15 cm (plate)

Plate 56 To Rise and to Fall
etching and aquatint on ivory laid paper 21.5 x 15 cm (plate)

Plate 57 The Filiation
etching and aquatint on ivory laid paper 21.5 x 15.1 cm (plate)

Plate 58 Swallow it, dog
etching and aquatint on ivory laid paper 21.5 x 15.2 cm (plate)

Plate 59 And Still They Don’t Go!
etching and aquatint on ivory laid paper 21.5 x 15.1 cm (plate)

Plate 60 Trials
etching and aquatint on ivory laid paper 20.7 x 16.5 cm (plate)

Plate 61 They Have Flown
etching, aquatint, and drypoint in brown on ivory laid paper
21.5 x 15 cm (plate)

Plate 62 Who Would Have Thought It!
etching and aquatint on ivory laid paper 20.5 x 15.1 cm (plate)

Plate 63 Look How Solemn They Are!
etching and aquatint on ivory laid paper 21.2 x 16.3 cm (plate)

Plate 65 Where is Mother Going?
etching and aquatint on ivory laid paper 20.6 x 16.6 cm (plate)

Plate 66 There it Goes
etching and aquatint on ivory laid paper 20.7 x 16.5 cm (plate)

Plate 67 Wait till You’ve Been Anointed
etching and aquatint on ivory laid paper 21.5 x 15 cm (plate)

Plate 68 Pretty Teacher!
etching and aquatint on ivory laid paper 21 x 14.9 cm (plate)

Plate 69 Blow
etching and aquatint on ivory laid paper 21 x 14.9 cm (plate)

Plate 70 Devout profession
etching and aquatint on ivory laid paper 20.8 x 16.5 cm (plate)

Plate 71 When Day Breaks We Will Be Off
etching and aquatint on ivory laid paper 19.8 x 14.9 cm (plate)

Plate 72 You will not escape
etching and aquatint on ivory laid paper 21,4 x 15 cm (plate)

Plate 73 It is Better to Be Lazy
etching and aquatint on ivory laid paper 21.4 x 15 cm (plate)

Plate 74 Don’t scream, stupid
etching and burnished aquatint on white laid paper with title and number in crayon 21.6 x 15.2 cm (plate)

Plate 75 Can’t anyone untie us?
etching and aquatint on ivory laid paper 21.4 x 15.5 cm (plate)

Plate 76 You understand? … well, as I say… eh! Look out! otherwise…
etching and aquatint in black on ivory laid paper
 21.4 x 15 cm (plate)

Plate 77 What One Does to Another
etching and aquatint on ivory laid paper 21.4 x 15 cm (plate)

Plate 78 Be quick, They are Waking Up
etching and aquatint on ivory laid paper 21.4 x 15 cm (plate)

Plate 79 No One Has Seen Us
etching and aquatint on ivory laid paper 21.3 x 15.1 cm (plate)

Plate 80 It is Time
etching, burnished aquatint, drypoint and burin on ivory laid paper 21.5 x 15.1 cm (plate)

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1798 A Scene from El Hechizado por Fuerza
('The Forcibly Bewitched')
oil on canvas 42.5 x 30.8 cm
The National Gallery, London

before 1798 Don Andrés del Peral
oil on poplar wood  95 x 65.7 cm
The National Gallery, London

1798 Gaspar Melchor de Jovellanos
oil on canvas 205 x 133 cm
Museo del Prado, Madrid

1798 Portrait of Asensio Julià
oil on canvas 54.5 x 41 cm
Museo Nacional Thyssen-Bornemisza, Madrid

1798 The Taking of Christ (preparatory study)
oil on canvas (size not given)
Museo del Prado, Madrid

c1798 General José de Urrutia
oil on canvas (size not given)
Museo del Prado, Madrid

c1798 Witches' Flight
oil on canvas 43.5 x 30.5 cm
Museo del Prado, Madrid

1799 Portrait of Ferdinand Guillemardet
(School of Goya)
oil on canvas196 x 124 cm
Louvre, Paris

1799 Portrait of Ferdinand Guillemardet 
detail

1799 Portrait of Mariana Waldstein, 9th Marchioness of
Santa Cruz
(School of Goya)
oil on canvas 52 x x 34 cm
Louvre, Paris

1799 Queen Maria Luisa on Horseback
 oil on canvas 338 x 282 cm
Museo del Prado, Madrid

1799-1800 Carlos IV on Horseback
oil on canvas (size not given)
Museo del Prado, Madrid

c1799-1800 Charles IV of Spain as Huntsman
(workshop of Goya)
oil on canvas 46.6 x 30 cm
National Gallery of Art, Washington, DC

1800 Infanta Maria Josefa
oil on canvas 72 x 59 cm
Museo del Prado, Madrid

1800 Infante Antonio Pascual
preparatory sketch for The Family of Charles IV
oil on canvas 72.5 x 59.3 cm
Museo del Prado, Madrid

1800 Infante Carlos María Isidro
oil on canvas 74 x 60 cm
Museo del Prado, Madrid

1800 Infante Francisco de Paula
oil on canvas 74 x 60 cm
Museo del Prado, Madrid

1800 Infante Louis I, King of Etruria, Prince of Parma
oil on canvas (size not given)
Museo del Prado, Madrid

1800 The Countess of Chinchón
oil on canvas 216 x 144 cm
Museo del Prado, Madrid