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Francisco De Goya y Lucientes (b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, Bordeaux, Fr.), consummately Spanish artist whose multifarious paintings, drawings, and engravings reflected contemporary historical upheavals and influenced important 19th- and 20th-century painters.
Like Velazquez, Goya was a Spanish court painter whose best work was done apart from his official duties. He is known for his scenes of violence, especially those prompted by the French invasion of Spain. The series of etchings Los desastres de la guerra ("The Disasters of War", 1810-14) records the horrors of the Napoleonic invasion. His masterpieces in painting include The Naked Maja and The Clothed Maja (c. 1800-05). He also painted charming portraits such as Senora Sabasa Garcia.

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 first of the moderns." His uncompromising portrayal of his times marks the beginning of 19th-century realism.

Page 7 of 7  First Prev  1  2  3  4  5  6  7    Paintings: 164
Caprichos - Plate 8: They Carried her Off - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 8: They Carried her Off
Caprichos - Plate 52: What a Tailor can do! - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 52: What a Tailor can do!
Caprichos - Plate 64: Bon Voyage - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 64: Bon Voyage
Caprichos - Plate 24: Nothing Could be Done About it - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 24: Nothing Could be Done About it
Caprichos - Plate 40: Of What Ill Will he Die? - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 40: Of What Ill Will he Die?
Caprichos - Plate 7: Even Thus he Cannot Make her Out - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 7: Even Thus he Cannot Make her Out
Caprichos - Plate 70: Devout Profession - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 70: Devout Profession
Caprichos - Plate 75: Can't Anyone Untie Us? - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 75: Can't Anyone Untie Us?
Caprichos - Plate 71: Dawn Comes, We Go - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 71: Dawn Comes, We Go
Caprichos - Plate 51: They Pare - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 51: They Pare
Caprichos - Plate 36: A Bad Night - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 36: A Bad Night
Caprichos - Plate 66: Up They Go - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 66: Up They Go
Caprichos - Plate 32: Because she was Susceptible - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 32: Because she was Susceptible
Caprichos - Plate 48: Tale-Bearers: Blasts of Wind - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 48: Tale-Bearers: Blasts of Wind
Caprichos - Plate 61: They are Flying - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 61: They are Flying
Caprichos - Plate 47: Homage to the Master - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 47: Homage to the Master
Caprichos - Plate 2: They Say Yes and Give their Hand... - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 2: They Say Yes and Give their Hand...
Caprichos - Plate 27: Which of them is More Overcome? - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 27: Which of them is More Overcome?
Caprichos - Plate 57: The Filiation - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 57: The Filiation
Caprichos - Plate 1: Francisco Goya y Lucientes - Francisco De Goya y Lucientes - www.franciscodegoya.net
Caprichos - Plate 1: Francisco Goya y Lucientes
Page 7 of 7  First Prev  1  2  3  4  5  6  7    Paintings: 164