Delphi Complete Paintings of Francisco de Goya (Illustrated)
By Francisco de Goya and Peter Russell
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About this ebook
The romantic painter Francisco de Goya is considered the most important Spanish artist of late eighteenth and early nineteenth centuries. Throughout his long and distinguished career, Goya produced paintings and prints that chronicled the history, folly and beauty of his times. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Goya’s complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)
* The complete paintings of Francisco de Goya — over 300 paintings, fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Goya’s celebrated works in detail, as featured in traditional art books
* Hundreds of images in stunning colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
* Special chronological and alphabetical contents tables for the paintings
* Easily locate the paintings you wish to view
* Includes Goya's various series of prints - spend hours exploring the artist’s diverse works
* Features a bonus biography - discover Goya's artistic and personal life
* Scholarly ordering of plates into chronological order
Please visit www.delphiclassics.com to browse through our range of exciting e-Art books
CONTENTS:
The Highlights
THE PARASOL
THE BLIND GUITARIST
THE MEADOW OF SAN ISIDRO
BLIND MAN’S BUFF
YARD WITH MADMEN
THE BLACK DUCHESS
WITCHES’ FLIGHT
THE MIRACLE OF ST. ANTHONY
PORTRAIT OF ANDRÉS DEL PERAL
PORTRAIT OF GASPAR MELCHOR DE JOVELLANOS
THE SLEEP OF REASON PRODUCES MONSTERS
CHARLES IV AND HIS FAMILY
THE NUDE MAJA
PORTRAIT OF DOÑA ISABEL DE PORCEL
PORTRAIT OF ANTONIA ZÁRATE
THE BURIAL OF THE SARDINE
PORTRAIT OF THE DUKE OF WELLINGTON
THE THIRD OF MAY, 1808: THE EXECUTION OF THE DEFENDERS OF MADRID
SELF-PORTRAIT WITH DR. ARRIETA
SATURN DEVOURING ONE OF HIS CHILDREN
THE MILKMAID OF BORDEAUX
The Paintings
THE COMPLETE PAINTINGS
ALPHABETICAL LIST OF PAINTINGS
The Drawings
LIST OF PRINTS AND DRAWINGS
The Biography
GOYA by François Crastre
Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set
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Book preview
Delphi Complete Paintings of Francisco de Goya (Illustrated) - Francisco de Goya
Francisco de Goya
(1746-1828)
img2.jpgContents
The Highlights
The Parasol
The Blind Guitarist
The Meadow of San Isidro
Blind Man’s Buff
Yard with Madmen
The Black Duchess
Witches’ Flight
The Miracle of St. Anthony
Portrait of Andrés Del Peral
Portrait of Gaspar Melchor de Jovellanos
The Sleep of Reason Produces Monsters
Charles IV and His Family
The Nude Maja
Portrait of Doña Isabel de Porcel
Portrait of Antonia Zárate
The Burial of the Sardine
Portrait of the Duke of Wellington
The Third of May, 1808: The Execution of the Defenders of Madrid
Self-Portrait with Dr. Arrieta
Saturn Devouring One of His Children
The Milkmaid of Bordeaux
The Paintings
The Complete Paintings
Alphabetical List of Paintings
The Drawings
List of Prints and Drawings
The Biography
Goya by François Crastre
The Delphi Classics Catalogue
img3.png© Delphi Classics 2016
Version 1
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img12.jpgMasters of Art Series
Francisco de Goya
img13.jpgBy Delphi Classics, 2016
COPYRIGHT
Masters of Art - Francisco de Goya
First published in the United Kingdom in 2016 by Delphi Classics.
© Delphi Classics, 2016.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published.
ISBN: 9781786564924
Delphi Classics
is an imprint of
Delphi Publishing Ltd
Hastings, East Sussex
United Kingdom
Contact: sales@delphiclassics.com
www.delphiclassics.com
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img15.jpgThe Highlights
img16.jpgFuendetodos, a town in the Campo de Belchite comarca, Aragon, Spain — Goya’s birthplace
img17.jpgThe house of Goya’s birth
img18.jpgView inside Goya’s birthplace
img19.jpgGoya as a young man, c. 1771
THE HIGHLIGHTS
img20.pngIn this section, a sample of Goya’s most celebrated works is provided, with concise introductions, special ‘detail’ reproductions and additional biographical images.
The Parasol
img21.jpgThe fourth of six children, 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, though for what reason remains a mystery. They were a lower middle-class family, with José being the son of a notary and of Basque origin, earning his living as a gilder specialising in religious and decorative craftwork, having worked on the principal cathedral of Zaragoza. Francisco’s maternal family had pretensions of nobility and the house, although a modest brick cottage, was owned by her family and bore their crest.
By 1749 José and Gracia bought a home in Zaragoza and were able to return to live in the city. Although there are no surviving records, it is thought that Goya may have attended the Escuelas Pías de San Antón, which offered free schooling. His education seems to have been adequate, but not extensive. He picked up a reasonable understanding of reading, writing and numeracy, with some knowledge of the classics. While at school he formed a close and lifelong friendship with fellow pupil Martin Zapater and the 131 letters Goya wrote to him, from 1775 until Zapater’s death in 1801, provide a valuable insight into the artist’s early years at the court in Madrid.
Aged fourteen, Goya studied in the artist José Luzán’s workshop, where he copied stamps for four years until he decided to set out on his own. Goya moved to Madrid where he studied with Anton Raphael Mengs, a painter that was popular with Spanish royalty. He clashed with his master and his examinations proved to be unsatisfactory. At this time Goya submitted entries for the Real Academia de Bellas Artes de San Fernando in 1763 and 1766, but was both times refused entrance to the prestigious school.
Having failed to earn a scholarship, Goya moved at his own expense to Rome, following in the footsteps of many great artists before him, seeking inspiration from the great masters of the Renaissance and Baroque. Records of Goya’s activities at this time remain few and obscure, with one report claiming that Goya travelled to Rome with a gang of bullfighters, where he worked as a street acrobat, while another describes him toiling for a Russian diplomat, and yet another concerns his falling in love with a beautiful young nun, whom he plots to abduct from her convent.
In the early 1770’s Goya studied with the Aragónese artist Francisco Bayeu y Subías, at which time his painting began to show signs of the delicate tonalities for which he would become famous in later years. Becoming good friends with Bayeu, Goya married Bayeu’s sister Josefa on 25 July 1773 and they had their first child, Antonio Juan Ramon Carlos, on 29 August 1774. This marriage and Bayeu’s 1765 membership of the Real Academia de Bellas Artes de San Fernando and directorship of the tapestry works helped Goya earn a commission for a series of tapestry cartoons for the Royal Tapestry Factory. Over five years he designed over forty patterns, many of which were used to decorate and insulate the stone walls of El Escorial and the Palacio Real del Pardo, the residences of the Spanish monarchs. Though designing tapestries was neither prestigious nor well paid, his popularist, rococo style allowed him to foster wider interest in his art, while he was learning to perfect his painterly technique for the greater works to come.
The tapestries depicted serene events in everyday life to complement the dining room of Prince and Princess of Asturias, the future King Charles IV and Maria Luisa of Parma. The queen especially called on Goya as she wanted to decorate the dining room with cheerful scenes. The following plate, The Parasol (1777), now housed in the Museo del Prado in Madrid, along with many other tapestry paintings, aptly demonstrates Goya’s response to this request. Illustrating Goya’s penchant for French fashion, rather than Spanish tastes at that time, the canvas portrays a woman sitting on the ground, appearing to rest after a long walk. She is dressed in contemporary French fashion, holding a fan in her right hand, while a little dog is nestled in her lap. A young man holds a parasol to shade her face from the sun’s rays. He is dressed in the majo (peasant) style, his hair gathered in a net and his belt is made of colourful silk. In the background we can see dark clouds in the sky and the trees swaying in the wind, hinting at a storm in the distant future. Nevertheless, the image evokes a sense of calm and idleness, which is only disturbed by the strong breeze blowing against the tree.
From 1775 to 1792 Goya painted design cartoons like this for the tapestries, which would form the first genre of his artistic oeuvre. The tapestry cartoons would mark the most developmental period in his artistic career. Goya was influenced by neoclassicism, which was gaining favour over the rococo style at the time. This particular painting is considered classicism for its relation to everyday life. Soon Goya was painting portraits for the Spanish monarchs and aristocrats at court, being elected to the Royal Academy of San Fernando in 1780, then named painter to the king in 1786, followed by court painter in 1789.
img22.jpgimg23.jpgDetail
img24.jpgDetail
img25.jpgDetail
img26.jpgDetail
img27.jpgFrancisco Bayeu (1734-1797)
img28.jpgCharles III (1716 — 1788) was the King of Spain and the Spanish Indies from 1759 to 1788. He was the fifth son of Philip V of Spain, but eldest by his second wife, Elisabeth Farnese.
img29.jpgEl Escorial, where the tapestries were commissioned to be hung
img30.jpgAnother image from the second series of Goya’s tapestries: La merienda a orilla del Manzanares (Lunch on the Banks of the Manzanares)
The Blind Guitarist
img31.jpgIn the spring of 1778 Goya submitted the following oil cartoon of a blind guitarist to the Royal Tapestry Factory of Santa Barbara in Madrid for it to be woven into a tapestry. Due to the complexity of the design it proved too difficult for the weavers to interpret and alterations had to be made. Goya also completed an etching of the scene, which was the largest he ever completed.
The 1778 cartoon, now housed in Madrid’s Museo del Prado, indicates how Goya’s art was beginning to explore darker themes, as seen in the sinister form of the blind guitarist. The image shows a large assembly of well-to-do folk, appearing to be midway through an afternoon stroll, gathered before the musician. His large vacuous eyes and haunting expression render the guitarist an imposing figure in the canvas, as the rest of the figures appear to be drawn towards him. To the top right the clouds are tinged with darkness, hinting at a storm and trouble to come. Even the gentleman in the fine yellow coat feels compelled to give the guitarist a coin and appears to dig deep into his pockets to find one that will be pleasing to the ominous figure. Throughout his career, Goya would produce many controversial and unsettling images, hinting at his own liking for dark subject matter, of which The Blind Guitarist was only a prelude of many more to come.
img32.jpgimg33.jpgDetail
img34.jpgDetail
img35.jpgDetail
img36.jpgDetail
img37.jpgDetail
img38.jpgDetail
img39.pngGoya’s etching