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The Prisoners is a series of three etchings by Francisco de Goya, depicting imprisoned men with indistinct faces, bound with leg irons in stress positions.The prints are not dated, but they are believed to have been made between 1810 and 1815, around the time Goya started his print series The Disasters of War.
Print/export Download as PDF; ... Pages in category "Prints by Francisco Goya" The following 11 pages are in this category, out of 11 total. ... The Prisoners (Goya) S.
Prison Interior (Spanish: Interior de cárcel) is an oil-on-canvas painting completed by the Spanish artist Francisco Goya (1746–1828) between 1793 and 1794. The painting is bathed in a dim, cold light which gives it an appearance of purgatory .
Portrait of Goya by Vicente López Portaña, c. 1826. Museo del Prado, Madrid. Francisco José de Goya y Lucientes (1746–1828) was a Spanish artist, now viewed as one of the leaders of the artistic movement Romanticism. He produced around 700 paintings, 280 prints, and several thousand drawings.
The Greasy Pole (1786-1787). The series of paintings for the alameda of the Dukes of Osuna comprises seven pictures painted by Francisco de Goya between 1786 and 1787. The country estate of the dukes and duchesses, who were the painter's mecenas and friends, was known as El Capricho, and was located on the outskirts of Madrid.
The etchings were made over a tumultuous quarter-century between 1799 and 1823, when Goya was a mature artist, and the vast Spanish empire was coming apart at the seams. He started them in his ...
Goya's painting of the massacre, which shows terrified civilians facing a firing squad, was intended to arouse anger and hatred on the part of Spanish viewers. Goya's is a highly romantic picture of a deeply emotional episode. [57] Pablo Picasso's Massacre in Korea (1951) was painted as a protest against the United States intervention in Korea ...
He speculates that Goya's son Javier may have created the paintings, and Javier's son Mariano passed them off as the work of Goya for financial gain. Junquera's theory was rejected by Goya scholar Nigel Glendinning , who published an academic study defending the paintings' authenticity and later held a lecture in Madrid restating his conviction.