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Goya began to produce oil-on-canvas cartoon paintings from which tapestries for the royal palaces could be made. According to many relevant sources of the time period, Goya displayed extraordinary skill in painting tapestry cartoons, and his talent apparently warranted the attention of the Neoclassical painter Anton Raphael Mengs.
Yard with Lunatics (Spanish: Corral de locos) is a small oil-on-tinplate painting completed by the Spanish artist Francisco Goya between 1793 and 1794. Goya said that the painting was informed by scenes of institutions he had witnessed as a youth in Zaragoza. [1] It was painted around the time when Goya’s deafness and mental illness were ...
At some time between late 1792 and early 1793, an undiagnosed illness left Goya deaf. He became withdrawn and introspective while the direction and tone of his work changed. He began the series of aquatinted etchings , published in 1799 as the Caprichos —completed in parallel with the more official commissions of portraits and religious ...
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.
Goya, in gratitude to his friend Arrieta: for the compassion and care with which he saved his life during the acute and dangerous illness he suffered towards the end of the year 1819 in his seventy-third year. He painted it in 1820. [2] Goya may have expected to die, but under Arrieta's care, he was nursed back to health and lived another eight ...
Josep Gudiol dated the Witches series to between 1794 and 1795, which coincided with the period of the painter's recovery after a severe illness that left him completely deaf between 1792 and 1793. [18] Gradually returning to work, Goya focused on painting smaller works that required less physical effort.
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.
Josep Gudiol dated the Witches series to between 1794 and 1795, which coincided with the period of the painter's recovery after a severe illness that left him completely deaf between 1792 and 1793. [17] Gradually returning to work, Goya focused on painting smaller works that required less physical effort.