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Goya's early career as a painter in the court of Charles III is marked by portraits of the Spanish aristocracy and tapestry cartoons in a Rococo style. Continuing to produce official portraits and paintings for the courts of Charles IV and Ferdinand VII , Goya's middle period is also notable for print series that satirize the human condition ...
The Colossus (also known as The Giant), is known in Spanish as El Coloso and also El Gigante (The Giant), El Pánico (The Panic) and La Tormenta (The Storm). [2] It is a painting traditionally attributed to Francisco de Goya that shows a giant in the centre of the canvas walking towards the left hand side of the picture.
Francisco Goya was called "the last great painter in whose art thought and observation were balanced and combined to form a faultless unity". [7] But the extent to which he was a Romantic is a complex question. In Spain, there was still a struggle to introduce the values of the Enlightenment, in which Goya saw
Photo of the wall of the old house of Goya, done by J. Laurent in 1874. A Pilgrimage to San Isidro (Spanish: La romería de San Isidro) is one of the Black Paintings painted by Francisco de Goya between 1819–23 on the interior walls of the house known as Quinta del Sordo ("The House of the Deaf Man") that he purchased in 1819.
Saturn Devouring His Son is a painting by Spanish artist Francisco Goya.It is traditionally considered a depiction of the Greek myth of the Titan Cronus, whom the Romans called Saturn, eating one of his children out of fear of a prophecy by Gaea that one of his children would overthrow him.
Don Juan and the Commendatore [1] (Spanish: Don Juan y la estatua del Comendador or El burlador de Sevilla) is a painting by the Spanish artist Francisco Goya.It belongs to a series of six cabinet paintings, each approximately 43 × 30 cm, with witchcraft as the central theme.
The Black Paintings (Spanish: Pinturas negras) is the name given to a group of 14 paintings by Francisco Goya from the later years of his life, likely between 1819 and 1823. They portray intense, haunting themes, reflective of both his fear of insanity and his bleak outlook on humanity.
At first the painting met with mixed reactions from art critics and historians. Artists had previously tended to depict war in the high style of history painting, and Goya's unheroic description was unusual for the time. According to some early critical opinion the painting was flawed technically: the perspective is flat, or the victims and ...
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