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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 José de Goya y Lucientes (/ ˈ ɡ ɔɪ ə /; Spanish: [f ɾ a n ˈ θ i s k o x o ˈ s e ð e ˈ ɣ o ʝ a i l u ˈ θ j e n t e s]; 30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker.
The third print, Dibersión de España, shows the beginning of a fiesta when the bulls run free and foolhardy amateurs charge the ring. In Plaza Partida, Goya uses multiple focal points to re-create the visual stimulation that would have been experienced by a witness to the spectacle of a divided arena. [5]
In this painting Goya depicts himself in a bullfighter's suit. La Tauromaquia (Bullfighting) is a series of 33 prints created by the Spanish painter and printmaker Francisco Goya, which was published in 1816. The works of the series depict bullfighting scenes. There are also seven extra prints that were not published in the original edition.
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.
Los Caprichos lack an organized and coherent structure, but they have important thematic nuclei. The most prevalent themes are: the superstition around witches, which predominates after Capricho No. 43 and that serves to express ideas about evil in a tragicomic way; the life and behavior of friars; erotic satire relating to prostitution and the role of the matchmaker; and to a lesser extent ...
Portrait of Charles IV of Spain (1790s) by Francisco Goya. Portrait of Charles IV of Spain is a portrait of Charles IV of Spain in hunting dress with a hunting dog. Both it and a pendant of his wife were long thought to be a copy after an autograph work by Francisco Goya, but they have now been definitively reattributed as autograph works by Goya himself, produced late in the 18th century.
Goya makes the figures come to life by making the Duke lean slightly to one side, with the intense stares of the children and the presence of the two dogs, making this a "typically amusing Goya animation", [3] and which, according to Nigel Glendinning, "gives the painting a strong sensation of mometaneousness so typical of both Velázquez and ...