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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 Incantation [1] (Spanish: El conjuro) 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.
Children in a Chariot (Spanish - Niños del carretón) is a 1779 painting by Francisco de Goya. It is part of the third series of cartoons he produced for tapestries at the Royal Palace of El Pardo ; the tapestry in question was to be positioned over a door.
Francisco de Goya was born in Fuendetodos, Aragón, Spain, on 30 March 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. The family had moved that year from the city of Zaragoza , but there is no record of why; likely, José was commissioned to work there. [ 4 ]
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.
Truth, Time and History (Spanish: La Verdad, el Tiempo y la Historia) is an oil-on-canvas painting by the Spanish artist Francisco de Goya.The painting is also known by the titles Spain, Time, and History and Allegory of the Constitution of 1812.
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 ...