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Francisco Jose de Goya y Lucientes

Francisco Jose de Goya y Lucientes


the first of the moderns - artist's vision is more important than
tradition, an idea shared by all Romantics.
An uncompromising portrayal of the times he lived in
Also marks the beginning of 19th-century realism.
Best known for scenes of haunting satire and crude realism

Influences during the initial years of his artistic carrier - decorative


Rococo tradition, Neoclassicism and above all the Baroque art
The painted frescoes of the local cathedrals in and around Saragossa
and oil paintings during 1770s, established Goya's artistic reputation.
The subject matters changed and also brought in stylistic changes but
he kept reverting back to his early influences

Goya, The Parasol. 1777, Oil on canvas, Rococo style

Goya, Blind's Man Bluff, Rococo style

Goya, The Sacrifice to Vesta.


Fresco, 1771.
Neo Classical approach

Goya, Circumcision. Fresco, Neo Classical approach

A keen observer of human behavior


From 1775 to 1792 Goya did his first genre
paintings from everyday life working as a
cartoonist in Madrid. An important phase in
his artistic development.

La cometa (The Kite),

The injured mason

Fight at the Cock Inn

Summer

Isolated from others by his deafness as a result of some serious illness


in 1792, he became increasingly occupied with the fantasies and
inventions of his imagination and with critical and satirical observations
of mankind.
He evolved a bold, free new style close to caricature, satirizing human
folly and weakness.
Examples- The Straw Manikin, The Yard of Madhouse, A way to fly,
Absurdity, There are Also Asses Who Put on the Mask of the Literati

The Straw Manikin

The Yard of Madhouse

Absurdity

There are Also Asses Who Put on the Mask of the Literati

A way to fly

Madhouse

The Renaissance to Baroque tradition in painting was essentially about the


human figure enacting in space.
Man was considered to be a summit of natural beauty.
The most essential element enacting the idea the image is intended to
convey.
Goya denies the human figure that heroic role an area of his mature work
in which this idea is clearly effective is the bull-fighting prints

The hero is the bull

The most commercial of his subject and here he makes it fairly plain that
for him the hero is the bull.

The death of Picador

During the Napoleonic invasion


and the Spanish war of
independence from 1808 to
1814, Goya expressed his horror
of armed conflict in a series of
starkly realistic etchings and oil
paintings on the atrocities of
war

Goya, The Second of May, 1808

The shooting of may 3rd, 1808

Characteristic of early European figure-paintings


Fluent definite gestures
Idealized characterization
Human forms with rhythmic, reposed gestures symbolist of an act intended
to be conveyed individually.

Characteristic of Goyas figure-paintings


Goyas figures have the jerky movement of puppets
Not organized in conventional patterns
A language of flat shapes conveying meaning in a more specific and
compact manner.
In a Goya drawing it is not as important as how the characters are seen to
act in relation to each other but in the expressiveness of the arrangement
which their combined forms establish on the page.

A Prison scene

Fear

The Burial of the Sardine