GOYA Y LUCIENTES, Francisco de, Paintings in Detail (2)

2. GOYA Y LUCIENTES, Francisco de
Featured Paintings in Detail
(2)

3. GOYA Y LUCIENTES, Francisco de
The Clothed Maja (La Maja Vestida)
1800-03
Oil on canvas, 97 x 190 cm
Museo del Prado, Madrid

4. GOYA Y LUCIENTES, Francisco de
The Clothed Maja (La Maja Vestida)
(detail)
1800-03
Oil on canvas, 97 x 190 cm
Museo del Prado, Madrid

5. GOYA Y LUCIENTES, Francisco de
The Clothed Maja (La Maja Vestida)
(detail)
1800-03
Oil on canvas, 97 x 190 cm
Museo del Prado, Madrid

6. GOYA Y LUCIENTES, Francisco de
The Clothed Maja (La Maja Vestida)
(detail)
1800-03
Oil on canvas, 97 x 190 cm
Museo del Prado, Madrid

7. GOYA Y LUCIENTES, Francisco de
The Clothed Maja (La Maja Vestida)
(detail)
1800-03
Oil on canvas, 97 x 190 cm
Museo del Prado, Madrid

8. GOYA Y LUCIENTES, Francisco de
The Clothed Maja (La Maja Vestida)
(detail)
1800-03
Oil on canvas, 97 x 190 cm
Museo del Prado, Madrid

10. GOYA Y LUCIENTES, Francisco de
The Straw Manikin
1791-92
Oil on canvas, 267 x 160 cm
Museo del Prado, Madrid

11. GOYA Y LUCIENTES, Francisco de
The Straw Manikin (detail)
1791-92
Oil on canvas, 267 x 160 cm
Museo del Prado, Madrid

12. GOYA Y LUCIENTES, Francisco de
The Straw Manikin (detail)
1791-92
Oil on canvas, 267 x 160 cm
Museo del Prado, Madrid

13. GOYA Y LUCIENTES, Francisco de
The Straw Manikin (detail)
1791-92
Oil on canvas, 267 x 160 cm
Museo del Prado, Madrid

14. GOYA Y LUCIENTES, Francisco de
The Straw Manikin (detail)
1791-92
Oil on canvas, 267 x 160 cm
Museo del Prado, Madrid

15. GOYA Y LUCIENTES, Francisco de
The Straw Manikin (detail)
1791-92
Oil on canvas, 267 x 160 cm
Museo del Prado, Madrid

16. GOYA Y LUCIENTES, Francisco de
The Straw Manikin (detail)
1791-92
Oil on canvas, 267 x 160 cm
Museo del Prado, Madrid

18. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine
1812-14
Oil on panel, 82,5 x 59 cm
Museo de la Real Academia de San
Fernando, Madrid

19. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine (detail)
1812-14
Oil on panel, 82,5 x 59 cm
Museo de la Real Academia de San
Fernando, Madrid

20. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine (detail)
1812-14
Oil on panel, 82,5 x 59 cm
Museo de la Real Academia de San
Fernando, Madrid

21. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine (detail)
1812-14
Oil on panel, 82,5 x 59 cm
Museo de la Real Academia de San
Fernando, Madrid

22. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine (detail)
1812-14
Oil on panel, 82,5 x 59 cm
Museo de la Real Academia de San
Fernando, Madrid

23. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine (detail)
1812-14
Oil on panel, 82,5 x 59 cm
Museo de la Real Academia de San
Fernando, Madrid

24. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine (detail)
1812-14
Oil on panel, 82,5 x 59 cm
Museo de la Real Academia de San
Fernando, Madrid

25. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine (detail)
1812-14
Oil on panel, 82,5 x 59 cm
Museo de la Real Academia de San
Fernando, Madrid

27. GOYA Y LUCIENTES, Francisco de
Witches' Sabbath
1789
Oil on canvas, 43 x 30 cm
Museo Lázaro Galdiano, Madrid

28. GOYA Y LUCIENTES, Francisco de
Witches' Sabbath (detail)
1789
Oil on canvas, 43 x 30 cm
Museo Lázaro Galdiano, Madrid

29. GOYA Y LUCIENTES, Francisco de
Witches' Sabbath (detail)
1789
Oil on canvas, 43 x 30 cm
Museo Lázaro Galdiano, Madrid

30. GOYA Y LUCIENTES, Francisco de
Witches' Sabbath (detail)
1789
Oil on canvas, 43 x 30 cm
Museo Lázaro Galdiano, Madrid

31. GOYA Y LUCIENTES, Francisco de
Witches' Sabbath (detail)
1789
Oil on canvas, 43 x 30 cm
Museo Lázaro Galdiano, Madrid

32. GOYA Y LUCIENTES, Francisco de
Witches' Sabbath (detail)
1789
Oil on canvas, 43 x 30 cm
Museo Lázaro Galdiano, Madrid

34. GOYA Y LUCIENTES, Francisco de
Portrait of the Duchess of Alba
1797
Oil on canvas, 210 x 149 cm
Hispanic Society of America, New York

35. GOYA Y LUCIENTES, Francisco de
Portrait of the Duchess of Alba (detail)
1797
Oil on canvas, 210 x 149 cm
Hispanic Society of America, New York

36. GOYA Y LUCIENTES, Francisco de
Portrait of the Duchess of Alba (detail)
1797
Oil on canvas, 210 x 149 cm
Hispanic Society of America, New York

37. GOYA Y LUCIENTES, Francisco de
Portrait of the Duchess of Alba (detail)
1797
Oil on canvas, 210 x 149 cm
Hispanic Society of America, New York

38. GOYA Y LUCIENTES, Francisco de
Portrait of the Duchess of Alba (detail)
1797
Oil on canvas, 210 x 149 cm
Hispanic Society of America, New York

39. GOYA Y LUCIENTES, Francisco de
Portrait of the Duchess of Alba (detail)
1797
Oil on canvas, 210 x 149 cm
Hispanic Society of America, New York

40. cast GOYA Y LUCIENTES, Francisco de, Featured
Paintings in Detail (2)
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41. GOYA Y LUCIENTES, Francisco de
Portrait of the Duchess of Alba
The thirteenth Duchess of Alba was born in 1762, widowed in 1796 and died in 1802 in mysterious circumstances, which gave rise to the rumour that she
was poisoned. She was a prominent figure in Madrid society. Goya's relations with the Duchess were such that they have led to the suggestion that she
posed for La Maja Desnuda. He stayed with her at her Andalusian estate in Sanlúcar after her husband's death and made several drawings of scenes in
the domestic life of the Duchess and her household. She is also recognizable in several plates of Los Caprichos and in one unpublished etching, which
seems to record an estrangement from the artist. The present portrait was almost certainly painted during Goya's stay at Sanlúcar and remained in his
possession.
The name Alba on the ring on the Duchess's third finger and Goya on that on the downward-pointing index finger are in themselves evidence of Goya's
intimacy with his sitter. The inscription on the ground at the Duchess's feet, to which her finger points (only uncovered in modern times), reads Solo Goya,
the word solo ('only') strengthening the assumption that they were lovers. The stiff figure with its expressionless face is, however, more like the puppet-
like figures of the tapestry cartoons than a portrait of a familiar sitter.

42. GOYA Y LUCIENTES, Francisco de
Witches' Sabbath
The old superstitious, heathen cult of Pan that was persecuted by the Church but which still persisted in the more remote corners of the country
was the subject of Goya's attack in this painting. Among a group of fanatic and stupidly credulous women and witches sits a huge ram, demanding
one of the children as sacrifice. On the ground lies the emaciated body of a child. The moon and a swarm of bats overshadow the day and darken the
sky. The symbols all point to the Spanish Inquisition.

43. GOYA Y LUCIENTES, Francisco de
The Burial of the Sardine
This painting, together with A Procession of Flagellants, A Village Bullfight, The Madhouse and a fifth, representing an Inquisition scene, entered
the Academy in 1839 as the bequest of Manuel García de la Prada, who had been a patron of the artist. In his will, dated 17 January 1836, they are
described as 'Five pictures on panel, four of them horizontal, representing an auto da fé of the Inquisition, a procession of flagellants, a madhouse,
a bullfight; another which is larger represents a masked festival; all painted in oil by the celebrated Court Painter don Francisco de Goya, and
much praised by the Professors.‘
The history of these five paintings before they entered García de la Prada's collection is not known, now that they are no longer associated with
the cabinet pictures made in 1793. They are now dated considerably later and the inclusion of the Inquisition scene suggests that they were
probably painted after the suppression of the Inquisition in 1810, especially in view of the trouble Goya himself said he had with the Holy Office
over Los Caprichos. The masked festival represents the 'Burial of the Sardine', a popular Spanish festival marking the end of Carnival and beginning
of Lent, which still takes place in some parts of the country.

44. GOYA Y LUCIENTES, Francisco de
The Straw Manikin
This belongs to Goya's last suite of tapestry cartoons, the only series made for Charles IV after Goya's appointment as Court Painter. The tapestries
were to decorate one of the apartments in the Escorial and the subjects, chosen by the King, were to be 'rural and jocose'.
Goya had delayed making the sketches as he objected to receiving his instructions from Maella instead of from the Lord Chamberlain. He eventually
submitted, since he did not, as he said, want to appear proud. After the naturalism of some of the earlier cartoons, the stiffness of the figures and
their artificial expressions come as a surprise. The human figures are as puppet-like as the straw manikin they are tossing in a blanket. A light-
hearted carnival tradition here assumes a cruel dimension in a scene that shows what strong women can do with a weak man.

45. GOYA Y LUCIENTES, Francisco de
The Clothed Maja (La Maja Vestida)
Though it was no doubt painted earlier, the first record of The Clothed Maja and the first mention of the paintings together is in an inventory of Godoy's
collection dated 1 January 1808, where they are called 'gipsies'.
In an article on Los Caprichos published in Cadiz in 1811, it is as Goya's Venuses that they are mentioned amongst his most admired works (they are
also called Venuses in Goya's biography by his son).
The next mention of the Majas is towards the end of 1814, when Goya was denounced to the Inquisition for being the author of two obscene paintings in
the sequestrated collection of the Chief Minister Godoy, 'one representing a naked woman on a bed...and the other a woman dressed as a maja on a
bed'. On 16 May 1815, the artist was summoned to appear before a Tribunal 'to identify them and to declare if they are his works, for what reason he
painted them, by whom they were commissioned and what were his intentions'. Unfortunately Goya's declaration has not yet come to light.
As a pair of paintings of a single figure in an identical pose, the Majas are a highly original invention. The theory that the clothed woman was intended as
a cover for the naked one is very credible. It is not surprising that the Majas attracted the attention of the Inquisition in Madrid in 1814. As late as 1865
Manet's Olympia (which bears such a close resemblance to The Naked Maja that it is difficult to believe that the artist had not seen Goya's painting)
created a furious scandal when it was exhibited in the Paris Salon

46. GOYA Y LUCIENTES, Francisco de
Francisco de Goya is an innovative Spanish Romanticism painter, one of the great
Spanish masters.
As an artist, Goya was by temperament far removed from the classicals. In a few works he
approached Classical style, but in the greater part of his work the Romantic triumphed.
Straightforward candor and honesty are present in all Goya's works.
The subversive and subjective element in his art, as well as his bold handling of paint,
provided a model for the work of later generations of artists. For the bold technique of his
paintings, the haunting satire of his etchings, and his belief that the artist's vision is more
important than tradition, Goya is often called "the grandfather of modern art".
Francisco de Goya became one of the most influential figures in Spanish art of all time. He
was also extremely important in the development of modern aesthetic sensibility, a
forerunner of Romanticism, both in the content of his paintings, with their in-depth
exploration of reality and references to the dream world, and in his very original technique.