Search results
Results from the WOW.Com Content Network
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.
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 ]
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.
Los disparates (The Follies), also known as Proverbios or Sueños , is a series of prints in etching and aquatint, with retouching in drypoint and engraving, created by Spanish painter and printmaker Francisco Goya between 1815 and 1823.
Portrait of Ferdinand VII is an 1815 portrait painting by Francisco Goya depicting Ferdinand VII of Spain. [1] [2] It depicts the King wearing his robes of state.From 1808 to 1813 Ferdinand had been a prisoner of the French Empire, held at the Château de Valençay after being deposed in favour of Napoleon's brother Joseph Bonaparte.
Pages in category "Paintings by Francisco Goya in the Museo del Prado" The following 37 pages are in this category, out of 37 total. This list may not reflect recent changes .
Among the most compelling additions is the public debut of working proofs for “The Disasters of War,” the justly famous chronicle of unspeakable butchery, one of just two such sets known to exist.
The series was intended by Goya as a commercial venture but this was unsuccessful, partly because of Goya's expressive use of the form was radically different from the tidy appearance of most lithographs of the time. [2] A sense of Goya's working methods can be gained from Goya's companion and assistant in Bordeaux Antonio Brugada