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Additional Artworks

From Van Every/Smith Galleries at Davidson College

  1. Carroll Cloar, Memphis, Tenn. by William R. Ferris, Image 1.

    William R. Ferris

    Carroll Cloar, Memphis, Tenn., 1982

    Gelatin silver print

    9 x 13.5 in (22.86 x 34.29 cm)

  2. Wreckage by James Welling, Image 1.

    James Welling

    Wreckage, 1981

    Selenium-toned gelatin silver contact print

    12 x 9 in (30.48 x 22.86 cm)

  3. Pod III, Open by Herb Jackson, Image 1.

    Herb Jackson

    Pod III, Open, 1977

    Lithograph on paper

    29.0625 x 22.25 in (73.82 x 56.52 cm)

  4. Lakeside Mountain Suite: Near Albuquerque by David Shapiro, Image 1.

    David Shapiro

    Lakeside Mountain Suite: Near Albuquerque, 1977

    Lithograph on paper

    14.875 x 22.1875 in (37.78 x 56.36 cm)

  5. Ann by John Talleur, Image 1.

    John Talleur

    Ann, 1976

    Etching on paper

    11 x 14 in (27.94 x 35.56 cm)

  6. Passage by Herb Jackson, Image 1.

    Herb Jackson

    Passage, 1972

    Lithograph on paper

    18 x 29.5 x 1.5 in (45.72 x 74.93 x 3.81 cm)

  7. The Bard Began, Canto IV, from Inferno by Ron Kowalke, Image 1.

    Ron Kowalke

    The Bard Began, Canto IV, from Inferno, 1970

    Etching on paper

    22 x 29.5 in (55.88 x 74.93 cm)

  8. Anna Maria Alberghetti by Philippe Halsman, Image 2.

    Philippe Halsman

    Anna Maria Alberghetti, 1961

    Gelatin silver print

    13.5 x 9.75 in (34.29 x 24.77 cm)

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About the artist

Francisco de Goya

Spanish

1746-1828

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.