This document provides a biography of Spanish painter Francisco de Goya. It discusses his early training and successes painting tapestries for the Spanish royal family. It describes how Goya's style evolved from colorful Rococo works to darker pieces reflecting the violence of the Peninsular War after going deaf. Key paintings mentioned include The Parasol, The Third of May 1808, Saturn Devouring His Sons, and The Dog. The document also analyzes influences between Goya's works and those of later artists like Picasso, examining how Goya helped pioneer modern, romantic, and expressionist styles.

1. Yolanda Rubio
4º ESO A
-Francisco de Goya-
Between classicism and modernity

2. LIFE
Francisco de Goya y
Lucientes was born in
Fuendetodos, in Zaragoza, in
1746. He was a Spanish
painter and printmaker.

3. He travelled to Madrid and Rome, where he won second prize in a painting
competition with his painting: Anibal victorious contemplates by de first
time Italy from the Alps. When he returned to Spain, he studied with
Francisco Bayeu y Subías, a famous painter in Spain and he started
working in Bayeu´s workshop. Later Bayeu became his brother-in-law.
This helped Goya start working for the Royal Tapestry Factory and this
relationship lasted for eighteen years.
Anibal victorious contemplates by de first time Italy from the Alps.

4. Some of the patterns he made were: Blind
man’s bluff, The grape harvest, The Straw
doll, The four seasons, The parasol. He
designed 42 patterns, many of which were
used to decorate the bare stone walls of El
Escorial and the Royal Palace of El Pardo.
The grape harvest
Blind man’s bluff
The Straw doll

5. In 1780, Goya decorated a dome in the Basilica–Cathedral of Our Lady of the
Pillar. His colorful and luminous style was not good for the cathedral Chapter and
this provoked a confrontation between Goya and his brother-in-law, Bayeu. This
attracted the attention of the Spanish monarchs, who later would give him access
to the royal court. He also painted a canvas for the altar of the
Church of San Francisco El Grande in Madrid, which led to his appointment as
a member of the Royal Academy of Fine Art.
Dome in the Basilica–Cathedral of Our Lady of the Pillar.

6. The Dukes of Osuna
In 1783 Goya painted
portraits of the family of
Charles III’s big brother and
he also painted portraits of the
Family of Osuna, important
works in his career. In 1789
Goya was the Chamber
Painter, which provoked the
triumph of the artist. Some
paintings of this period were:
Charles III hunting, The
Dukes of Osuna, The
Duchess of Alba.
Charles III hunting
He had a luminous style in all this period. He used a lot of
colors and loose brush-strokes.
The Duchess of Alba.

7. In 1792, Goya became deaf. This
provoked a change in his character. He
became withdrawn and his painting
became more critical and introspective
and colors were darker. Imagination,
freedom and critic became central on
his painting.
In 1795 he had a relationship with Lady
Cayetana of Alba. She is the main
character of Goya’s most famous
painting: The Nude Maja. She also
appeared in the Fantasies, a series of The Nude Maja
prints where Goya criticized
foolishness, superstitions, ignorance,
irrationality of the society, the Church
and he showed his ideology.
Fantasies

8. DIFFERENCES BETWEEN GOYA’S PAINTINGS BEFORE AND
AFTER HIS DEAFNESS.

9. In 1798, he painted luminous and airy scenes for the pendentives and dome of the
Real Chapel of San Antonio de la Florida in Madrid. He also painted the portrait
of Jovellanos and Charles IV’s family without beautifications.
Charles IV’s family Portrait of Jovellanos

10. In May, 1808 the Peninsular War started
and this provoked an interior
confrontation of ideas in Goya. He was a
Francophile but he refused violence. His
paint became sadder and darker: The Third
of May of 1808 and The Charge of the
Mamelukes and a series of etchings called
War disasters, a realistic chronicle of war
craziness.
The Third of May of 1808
War disasters

11. When Ferdinand VII came back, Goya lost his job at the court because Goya didn’t paint
portraits with details.
After that, Goya isolated himself and retired to a house on the
banks of the river Manzanares, called “Quinta del Sordo” and
on its walls he painted Dark Paintings, where he showed his
fears, his ghosts, his craziness. He also reflected mythological
themes, like in Saturn devouring his sons. Other Dark
Paintings were Fight with Cudgels, The dog or Two old men
eating soup.
Saturn devouring his sons
Two old men eating soup
Fight with Cudgels

12. He also made a series of etchings called Follies, where he reflected his
outlook on humanity and his fear of insanity and another one called
Bullfighting art.
Bullfighting art
The Sleep of Reason Those specks of dust
Produces Monsters

13. In 1824 Goya exiled in Bordeaux. He
painted his last work: The Milkmaid of
Bordeaux. It is an advance of
Impressionism. He also was the
precursor of other styles: Romanticism,
Realism, Expressionism, war
photography…
The Milkmaid of Bordeaux
Goya died on the 16th of April of 1828.

14. Goya was the point of reference of a lot of
painters. Goya’s influences can be divided
in five sections:
1- Time work. Portraits and self-portraits
show the new analysis of subjectivity, as it
is considered in modern society (David,
Delacroix and Soutine can be compared
with this type of Goya’s work). Portrait of Chaïm Soutine Harlequin´s Carnival by Miró
2- Ordinary life. Works which show the
consequences and the implications of the
Dora
new society in ordinary life (works of
Maar III
Daumier, Grosz, Kichner and Victor by
Hugo). Saura
3- Follies and grotesque. It shows the
modern world and its stupid aspects
(works of Miró, Picasso and Klee).
4- Violence. Representations of the war
and its dramatic consequences show a
Self-portrait as
darker and more awful transformation of soldier by Kichner.
society (works of Music, Dalí, Guttuso
and Picasso).
5- Shout. It shows subjectivity and also a
deformed face produced by terror (works
of Pollock, Kiefer, Bacon and Saura).
Guernica by Picasso

15. THE PARASOL
Commissioners: it belonged
to the cartoons for the
tapestries that decorated the
dining room of the Prince and
the Princess of Asturias
(Carlos IV and María Luisa)
in the Palace of El Pardo.
Since 1876 it is exhibited in
El Prado Museum.
Chronology: 1777
Material used: oil on canvas.
Present location: El Prado Museum, Madrid.

16. The woman is dressed in French style. A little dog is cuddled in her lap. The boy holds the
parasol to shade the woman's face. He is dressed in the majo style, meaning he is a poor
person. In the background we can see dark clouds in the sky and the trees swaying in the
wind. The painting is very calm warm, which is then offset by the tree that seems to be
blowing in pretty strong wind.
The parasol showed
gallantry.
Reality is achieved with the
figures’ size and with the
woman’s look, which is
directed to the viewer.
The strong lines draw an
equilateral triangle where
the woman is. This geometric
figure expresses serenity.
Two diagonals cross in the
woman’s smile, the point of
attention in the painting.
The Parasol, the equilateral triangle it forms.

17. The warm tones are used to express
happiness. The brush-stroke is too
dissolved, as we can see in the dog.
Goya also used bright contrasted colors
and light. Goya had a lot of interest in light;
here it is showed in the parasol, which
creates shadows in different zones, and the
light from the sun makes other zones stand
out.
It is a Rococo painting. We can consider it
as belonging to this style, by the figures’
size, which is small and they are surrounded
by nature. The scene is very courteous and
very gallant. It is an ordinary life scene. It
expresses sensuality and exoticism, as
Rococo paintings.
The most important painting from which
Goya drew influence was Vertumno and
Pomona, painting made by Jean Ranc. It is a
Neoclassicist painting.
Vertumno and Pomona, Jean Ranc

18. THE DOG Chronology: 1819-1823
Material used: Oil mural on plaster
transferred to canvas
Commissioners: The Black Paintings were from oil
mural on plaster transferred to canvas in 1873,
because Émile d’Erlanger wanted to buy them, but
there weren’t buyers and he donated this painting and
the other Dark Paintings to El Prado Museum in
1881.
Present location: El Prado Museum.
The painting is divided into two sections: the sky and
a black mass. Over the top of this lower section the
dog's head can be seen, its eyes looking up and
towards right.

19. It represents man's useless struggle against
malevolent forces; the black mass is a
material where the dog is becoming buried.
The dog is looking up because it can’t do
anything but look the birds hoping a divine
intervention. The big mass of "sky" produces
dog's isolation.
It is a simple color space, where a small head
is the only element. It expresses abstraction
and surrealism and it isn’t a conventional
painting because the landscape and the
perspective illusion disappear. The “dog” is a
symbol of freedom. The Dog, dog’s isolation and hopeless.
The Dog is a painting that can be considered to be a Romantic painting. Goya was
focused on expressing his creativity and his original forms and freedom. This
painting could be unfinished and it is imperfect, these were characteristics of
Romanticism.

20. There are photos made by J. Laurent in the
“Quinta del Sordo”, where we can see a
landscape in the background which forms a
big rock where there are some birds and the
dog is looking at them.
Spanish painter Antonio Saura
considered The Dog to be ”the world's most
beautiful picture” and Rafael Canogar
referred to it as a “visual poem” and cited it
as the first Symbolist painting of the Western
world.
Goya painted this painting in the walls of his
house, “Quinta del Sordo”. Never meant for
public display, they reflect his darkening
mood, with their depictions of intense scenes
of malevolence, conflict and despair.
Some artists see in these compositions of the
old and isolated Goya the origin of
Modernity.
Photo of The Dog in the walls of “Quinta del

21. Museo Nacional del Prado: Galería online (2012)
http://www.museodelprado.es/coleccion/galeria-on-line/galeria-on-line/obra/perrosemihundido/
ArteHistoria: Genios de la pintura- Ficha del perro semihundido (24 April 2012)
http://www.artehistoria.jcyl.es/genios/cuadros/660.htm
Wikipedia: (April 2012)
http://es.wikipedia.org/wiki/Perro_semihundido
http://en.wikipedia.org/wiki/The_Dog_(Goya)
http://es.wikipedia.org/wiki/Romanticismo
http://es.wikipedia.org/wiki/Gaspar_Melchor_de_Jovellanos
Historia de 4c: 22 January 2011 Cuadros de Goya
http://historiade4c.blogspot.com.es/2011/01/el-2-de-mayo-de-1808-en-estecuadro_22.html
Malagahistoria: (24 april 2012) Invasión Francesa
http://www.malagahistoria.com/malagahistoria/invasionfrancesa.html
Museo Lázaro Galdiano- ficha de inventario- el Duque de Osasuna (24 april 2012)
http://www.flg.es/HTML/Obras_1/ElDuquedeOsuna_1997.htm
Art of Goya web site: (2006) Portrait of the “Duchess of alba”
http://eeweems.com/goya/duchess_black.html
Back to Classics: The Milkmaid of Bordeaux by Francisco Goya (2009)
http://www.backtoclassics.com/gallery/franciscogoya/the_milkmaid_of_bordeaux/
Theartwolf.com: Goya-las pinturas negras. (24 April 2012)
http://www.theartwolf.com/goya_black_paintings_es.htm
Arte-historia.com: Grabados de goya disparates. (2012)
http://arte-historia.com/grabados-de-goya-disparates
Arteenlared.com: Goya y el mundo moderno (April 2012)
http://arteenlared.com/europa/italia/goya-y-el-mundo-moderno.-gran-exposicion-sobre-la-influencia-del-pintor-
espanol-en-el-arte-mod-2.html
Cristina Blanco Carrasco and Paqui Pérez Fons. (2011), SOCIAL SCIENCES HISTORY 4º ESO. Campo de Criptana.