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Francisco de Goya

Spanish

1746-1828

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  1. Valor varonil de la célebre Pajuelera en la de Zaragoza (Manly Courage of the Celebrated Pajuelera in the Ring at Saragossa), Plate 22 from La Tauromaquia by Francisco de Goya, Image 1.

    Francisco de Goya

    Valor varonil de la célebre Pajuelera en la de Zaragoza (Manly Courage of the Celebrated Pajuelera in the Ring at Saragossa), Plate 22 from La Tauromaquia, 19th century

    Etching, burnished aquatint, drypoint and burin

    19 x 22.5 in (48.26 x 57.15 cm)

  2. Murió La Verdad by Francisco de Goya, Image 3.

    Francisco de Goya

    Murió La Verdad, 1863

    Etching and aquatint on paper

    9 x 13.25 in (22.86 x 33.66 cm)

  3. Correccion (plate 46 from "Los Caprichos") by Francisco de Goya, Image 2.

    Francisco de Goya

    Correccion (plate 46 from "Los Caprichos"), 1799

    Etching and aquatint on laid paper

    8.5 x 6 in (21.59 x 15.24 cm)

  4. Quien mas Rendido? by Francisco de Goya, Image 1.

    Francisco de Goya

    Quien mas Rendido?, 1799

    Etching on paper

    8.125 x 6.25 in (20.64 x 15.88 cm)

  5. Fiero Monstruo, Plate 81 from "Disasters of War" by Francisco de Goya, Image 1.

    Francisco de Goya

    Fiero Monstruo, Plate 81 from "Disasters of War", 1863

    Etching and drypoint on paper

    7.5 x 9 in (19.05 x 22.86 cm)

Spanish painter, illustrator, and engraver. Regarded as one of the latest Old Masters and earlier modern artists. Works reflected contemporary historical upheavals and was an influential figure for 19th-20th century artists. He admired masters such as Rembrandt Harmenszoon van Rijn and Diego Velázquez. Goya's drawings and engravings are inspired by Rembrandt's work; Velazquez’s paintings informed him of the study of nature and the language of realism. Both commissioned and uncommissioned works demonstrate Goya's keen observations of patrons and society through exaggerated realism that borders on caricature. His art incorporates purposeful satires, while utilizing caricature in drawings and prints that attacked political, social, and religious abuses. Etchings, drawings and paintings during and after the Napoleonic Invasion and The Restoration demonstrate his reactions to the horrors of war and the brutality of Ferdinand VII. He self-exiled in Bordeaux where he recorded his impressions of the world alongside fellow exiles in the new medium of lithography.