Berni Goya Final

8/6/2019 Berni Goya Final

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the life of:

Francisco Goya

Portrait of Goya byVicente Lpez y Portaa


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Intro

Francisco Jos de Goya y Lucientes (30 March 1746 16 April 1828)

Spanish romantic painter andprintmaker

Court painter to the Spanish Crown

A commentator and chronicler of hisera

Goya is regarded as both the last of

the Old Masters and the first of themoderns

The subversive and imaginativeelement in his art, as well as his boldhandling of paint, provided a model

for the work of later generations of artists, notably Manet, Picasso andFrancis Bacon. quote from source

Old Master:before 1800Fully trained

Worked independentlyMaster of artists guild

The Witches' Sabbath 1797-98

Oil on canvas44 x 31 cm.


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Early LifeAbout 1749, around the age of 4, Goyas familymoved to the city of Zaragoza

Ten years later, at age 14, Goya entersapprenticeship under the painter Jos Luzn, aestablished artist in Spain with a successfulacademy

Moved to Madrid where he studied withGerman painter Anton Raphael Mengs

Here he meets Francisco Bayeu, colleague andfuture brother-in-law

Anton, a precursor to neoclassical art, waspopular with Spanish royalty

Goya clashed with Anton and his examinationswere unsatisfactory

In 1763 and 1766, Goya submitted entries forthe Royal Academy of Fine Art but was deniedboth times where he was appointed as a member years later

Self Portrait of Anton Mengs


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Early Life 2

Relocates to Rome

Wins second prize in a painting competition in1771

Later the same year he returns to Zaragoza

There he paints many frescoes in the Basilica of the Pillar, the Charterhouse of Aula Dei and theSobradiel Palace.

Fresco in the charterhouse of Aula Dei

Hannibal Contemplating Italy for the First Time, Fromthe Alps (the painting that got him 2 nd prize)

It is during the time he paints thefrescoes that he develops his new and

improved style.


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Early Life 3

Miracle of St. Anthony of Padau

Goyas last fresco, painted in 1798


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Early Life 4

Adoration of the Name of God 1772


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Early Life 5

Self Portrait in the Workshop by FranciscoGoya, 1790-1795

On July 25 th, 1773, Goya marries Josefa Bayeuwhom he affectionately nicknamed Pepa

In 1774, with some help from his brother-in-law,Goya is called to Madrid to work for the RoyalTapestry Manufactory

This marks the start of his career working for theroyal court

Not painting frescoes, now his task was to createdesigns for tapestries of everyday Spanish scenes

Described as a bright, happy medley of folk scenes

He designed about 40 patterns over the course of 5years

Working on these designs brought his artistic talentsto the attention of the Spanish monarchs

During this time he also painted a canvas for achurch in Madrid , which led to his appointment as amember of the Royal Academy of Fine Art

The Dream of St. Joseph 1770-1772

El nio del rbol , from Goyas third tapestry series

Working for the Royal Court


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Early Life 6

Self portrait shortly before beginning to work on the tapestry designs

La caza del jabal, from his first tapestry series

Las gigantillas

&


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Early Life 7


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Mid-Career

Goya is now a member of the MadridAcademy and he turns his attention tofinding new patrons in Madrids high society

Nearing the age of 40, Goya was nowentering a happy, successful and carefreeperiod in his life

Goya's career as painter to the aristocracybegan with this life-sized portrait of Secretary of State of Floridablanca

This got him noticed by wealthy patronsand in a few years he went from humbletapestry designer to sought after portraitpainter


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Mid-Career 2

Goya became friends with Don Luis de Borbon

and spent the summers of 1783 and 1784 at hishome, painting him and his family

In 1786 Goya was given a salaried position aspainter to Charles III

Reaching the peak of his popularity with theroyals in 1788

His portraits are notable for their reluctance toflatter, and in the case of Charles IV of Spain and

His Family , the lack of visual diplomacy isremarkable. Modern interpreters have seen thisportrait as satire; it is thought to reveal thecorruption present under Charles IV. Under hisreign his wife Louisa was thought to have had thereal power, which is why she is placed at thecenter of the group portrait. From the back left of the painting you can see the artist himself lookingout at the viewer, and the painting behind thefamily depicts Lot and his daughters, thus onceagain echoing the underlying message of corruption and decay.

Portrait of the Duke of Osuna's Familyca.1789

Oil on canvas 225x174 cm

Madrid, Prado


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Mid-Career 3

Charles IV of Spain and His Family , 1800


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Mid-Career 4Goya falls seriously ill in 1792 which marks asignificant change in his career

The exact nature of the illness is unknown,

but it leaves him deaf and Goya becomeswithdrawn and introspective

Takes a 5 year recuperating break

During this break he does a lot of experimental art

The illness is a physical and mental crisiswhich permanently leaves its mark on theartist

Deafness made him mistrustful of people butsharpens his visual perception

He no longer ignores life's darker side and

takes his imagination increasingly seriously

Reflected in his art is the happiness,confusion and despair in his private life

Short, passionate affair with the Duchess of Alba

Self-Portrait in the Workshop 1790

Crisis and a New Start


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Mid-Career 5

Self-Portrait1795-1797

Reflected in his art is thehappiness, confusion anddespair in his private life

Short, passionate affairwith the Duchess of Alba

Goya describes the seriesas "the innumerablefoibles and follies to befound in any civilizedsociety, and from thecommon prejudices anddeceitful practices whichcustom, ignorance, or self-interest have made usual"


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Mid-Career 6The Sleep of Reason Produces Monsters

Etched between 1797-1799

Plate 43 of the 80 etchings making upLos Caprichos

Intended to be the front piece

Self portrait surrounded by owls(symbols of folly) and bats (symbols of ignorance)

This series shows Goyas commitmentto the creative process and the Romanticspirit

The unleashing of imagination,

emotions and even nightmares


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Mid-Career 7

Despite the social criticism hisCaprichos receives, it does not damageGoyas reputation at court

Appointed as First Court Painter in

1799

As no artist before him, he wasbrave enough to portray the membersof the ruling dynasty in all theirbanality and ugliness -so realistically

that even today we have to see hisportrayal of the royal family as an actof sheer audacity. What is all the moreamazing is that royal patrons gave ittheir enthusiastic approval. Goya'sability to portray the unique features

of an individual through the mediumof paint was now reaching its peak,and for several years he dedicatedhimself almost exclusively to portraitpainting

Countess of Chinchon

Manuel Godoy, Duke of Alcudia, 'Prince of the Peace'

Portrait Study of the Infante Francisco de Paula


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Mid-Career 8

majas

Maja

The Nude Maja , ca. 1800 Said to be the first explicit depiction of female pubic hair in a large Western painting

The Clothed Maja , ca. 1803 the more chaste companion, but teasing, provocative, panel

Two of Goyas best knownpaintings

Same woman, same pose

With no reference toallegorical or mythologicalmeaning, the painting wasthe first totally profane life-size female nude in Westernart

Models identity isunknown, believed to be the

Duchess of Alba or themistress of Manual deGodoy, the owner

The paintings were never

publically exhibited duringGoyas lifetime


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Later YearsIn 1808, French forces invade Spain

Leads to the Peninsula War of 1808-1814

During this time he paints commissionsfor French patrons but kept himself neutral

After the war Goya denies anyinvolvement with the French

His wife Josefa dies in 1812

Around this time he painted The Charge of the Mamelukes and The Third of May1808

During this time he also starts preparingthe prints later known as The Disasters of War The Milkmaid 1826


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Later Years 2

The Third of May 18081814


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Later Years 3

The Second of May 1808 (The Charge of the Mamelukes)


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Disasters of War

Plate 39: Great deeds! Against the Dead!

Plate 3: The Same Thing

In the 1810s, Goya created a series of 82 etchings

titled Disasters of War

Seen as a visual protest against theviolence of the Dos de Mayo Uprising1808 and the Peninsula War 1808-1814

Disturbing scenes and macabre in theirdepiction of battelfield horror

Not published until 1863, 35 years afterdeath

only then considered politically safe


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Disasters of War

Plate 1: Sad presentiments of what must come to pass.


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Disasters of WarThe series is divided into three thematicgroups

War, famine and political/cultural allegoriesThe first 47 plates focuses on war and theconsequences of conflict on the individual

The middle series (plates 48-64) refers tothe famine that hit Madrid in 1811-1812

The final 17 prints reflect thedisappointment of liberals when the restoredmonarchy rejects political and religiousreform

Plate: 67

Plate: 41

Plate: 80


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Disasters of WarWAR

Plate: 15

Plate: 10

Plate: 18

Plate: 9


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Disasters of WarFaminePlate: 52 Plate: 59

Plate: 60

Plate: 62


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Disasters of War

Bourbons and clergyPlate: 70

Plate: 71

Plate: 76

Plate: 74


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Black Paintings

The Black Paintings

Saturn Devouring His Son 1823

1819, Goya buys a small country house outsideMadrid

He calls it Deaf Mans House

The same year, Goya again falls very ill andalmost completely retires from public life afterhis recovery

During this time he completes oil paintingsdirectly onto the plaster of the walls

These images were a reflection of dramatic,radical political change

Many of the Black Paintings were taken downand transferred to canvas support

Most of the murals suffered extensive damageand loss of paint


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Black Paintings 2

The Witches 1824 and A Pilgrimage to San Isidro 1823


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Black Paintings 3

Duel with Cudgels 1823 and The Dog1823


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Berni Goya Final

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