Oil Painting Artist::. Francisco de goya y Lucientes

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     Francisco de goya y Lucientes
    b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, Goya is considered the 18th Century's foremost painter and etcher of Spanish culture, known for his realistic scenes of battles, bullfights and human corruption. Goya lived during a time of upheaval in Spain that included war with France, the Inquisition, the rule of Napoleon's brother, Joseph, as the King of Spain and, finally, the reign of the Spanish King Ferdinand VII. Experts proclaim these events -- and Goya's deafness as a result of an illness in 1793 -- as central to understanding Goya's work, which frequently depicts human misery in a satiric and sometimes nightmarish fashion. From the 1770s he was a royal court painter for Charles III and Charles IV, and when Bonaparte took the throne in 1809, Goya swore fealty to the new king. When the crown was restored to Spain's Ferdinand VII (1814), Goya, in spite of his earlier allegiance to the French king, was reinstated as royal painter. After 1824 he lived in self-imposed exile in Bordeaux until his death, reportedly because of political differences with Ferdinand. Over his long career he created hundreds of paintings, etchings, and lithographs, among them Maya Clothed and Maya Nude (1798-1800); Caprichos (1799-82); The Second of May 1808 and The Third of May 1808 (1814); Disasters of War (1810-20); and The Black Paintings (1820-23).

Francisco de goya y Lucientes Unfortunate Events in the Front Seats of the Ring of Madrid oil painting artist
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Unfortunate Events in the Front Seats of the Ring of Madrid
245 x 355 mm - This is Plate 21 from the series Tauromaquia. A bull has leapt over the barrier and killed and injured a number of spectators. Goya leaves the left half of the picture empty, infringing the rules of compositional harmony. A number of spectators are nevertheless flinging themselves from right to left: out of the static balance, Goya develops a dynamic one. Author: GOYA Y LUCIENTES, Francisco de Title: Unfortunate Events in the Front Seats of the Ring of Madrid Form: graphics , 1801-1850 , Spanish , other

     Painting ID::  62470
INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469
  Unfortunate_Events_in_the_Front_Seats_of_the_Ring_of_Madrid
245 x 355 mm - This is Plate 21 from the series Tauromaquia. A bull has leapt over the barrier and killed and injured a number of spectators. Goya leaves the left half of the picture empty, infringing the rules of compositional harmony. A number of spectators are nevertheless flinging themselves from right to left: out of the static balance, Goya develops a dynamic one. Author: GOYA Y LUCIENTES, Francisco de Title: Unfortunate Events in the Front Seats of the Ring of Madrid Form: graphics , 1801-1850 , Spanish , other

Francisco de goya y Lucientes The Colossus oil painting artist
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The Colossus
1810-18 Mezzotint engraving, 285 x 210 mm - This engraving by Goya (Goya's only mezzotint engraving) was formerly described (by his grandson) as a 'giant'. It shows a figure seated on a hill beneath a crescent moon, a meditative, passive counterpart to the threatening Colossus of the painting in the Prado. Author: GOYA Y LUCIENTES, Francisco de Title: The Colossus Form: graphics , 1801-1850 , Spanish , other

     Painting ID::  62471
INCHES CM PRICE  
16x20 40x50 $69
20x24 50x60 $89
24x36 60x90 $139
30x40 75x100 $149
36x48 90x120 $219
48x72 120x180 $399
  The_Colossus
1810-18 Mezzotint engraving, 285 x 210 mm - This engraving by Goya (Goya's only mezzotint engraving) was formerly described (by his grandson) as a 'giant'. It shows a figure seated on a hill beneath a crescent moon, a meditative, passive counterpart to the threatening Colossus of the painting in the Prado. Author: GOYA Y LUCIENTES, Francisco de Title: The Colossus Form: graphics , 1801-1850 , Spanish , other

Francisco de goya y Lucientes Feminine Folly oil painting artist
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Feminine Folly
1816-23 Etching and aquatint, 240 x 350 mm - This is Plate 1 from the series Los Disparates or Proverbios. Some of the subjects of the tapestry cartoons described as 'the pleasures of the nursery' enjoyed by grown-ups were to be transformed in Goya's late lithographs into dark, grotesque parodies. Author: GOYA Y LUCIENTES, Francisco de Title: Feminine Folly (Disparate Feminino) Form: graphics , 1801-1850 , Spanish , other

     Painting ID::  62472
INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469
  Feminine_Folly
1816-23 Etching and aquatint, 240 x 350 mm - This is Plate 1 from the series Los Disparates or Proverbios. Some of the subjects of the tapestry cartoons described as 'the pleasures of the nursery' enjoyed by grown-ups were to be transformed in Goya's late lithographs into dark, grotesque parodies. Author: GOYA Y LUCIENTES, Francisco de Title: Feminine Folly (Disparate Feminino) Form: graphics , 1801-1850 , Spanish , other

Francisco de goya y Lucientes Spanish Entertainment oil painting artist
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Spanish Entertainment
1825 Lithograph, 300 x 410 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. As in his early paintings, and unlike in his Tauromaquia, Goya takes a step back from the events in the ring. His focus now falls not on the battle to the death that had earlier fascinated him and inspired him to new compositional solutions, but on the bullfight as popular entertainment. Perhaps the emigr?was also inspired by reminiscences of life in Spain. Author: GOYA Y LUCIENTES, Francisco de Title: Spanish Entertainment Form: graphics , 1801-1850 , Spanish , other

     Painting ID::  62473
INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469
  Spanish_Entertainment
1825 Lithograph, 300 x 410 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. As in his early paintings, and unlike in his Tauromaquia, Goya takes a step back from the events in the ring. His focus now falls not on the battle to the death that had earlier fascinated him and inspired him to new compositional solutions, but on the bullfight as popular entertainment. Perhaps the emigr?was also inspired by reminiscences of life in Spain. Author: GOYA Y LUCIENTES, Francisco de Title: Spanish Entertainment Form: graphics , 1801-1850 , Spanish , other

Francisco de goya y Lucientes The Divided Arena 1825 Lithograph oil painting artist
 Click Image to Enlarge
The Divided Arena 1825 Lithograph
300 x 425 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. At the end of his life, three years before his death, Goya once again returned to the subject of bullfighting, using the new technique of lithography to produce the series The Bulls of Bordeaux. Author: GOYA Y LUCIENTES, Francisco de Title: The Divided Arena Form: graphics , 1801-1850 , Spanish , other

     Painting ID::  62474
INCHES CM PRICE  
16x20 40x50 $99
20x24 50x60 $119
24x36 60x90 $159
30x40 75x100 $199
36x48 90x120 $269
48x72 120x180 $469
  The_Divided_Arena_1825_Lithograph
300 x 425 mm Biblioteca Nacional, Madrid This litograph is one of the four in the series The Bulls of Bordeaux. At the end of his life, three years before his death, Goya once again returned to the subject of bullfighting, using the new technique of lithography to produce the series The Bulls of Bordeaux. Author: GOYA Y LUCIENTES, Francisco de Title: The Divided Arena Form: graphics , 1801-1850 , Spanish , other

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     Francisco_de_goya_y_Lucientes
    b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, Goya is considered the 18th Century's foremost painter and etcher of Spanish culture, known for his realistic scenes of battles, bullfights and human corruption. Goya lived during a time of upheaval in Spain that included war with France, the Inquisition, the rule of Napoleon's brother, Joseph, as the King of Spain and, finally, the reign of the Spanish King Ferdinand VII. Experts proclaim these events -- and Goya's deafness as a result of an illness in 1793 -- as central to understanding Goya's work, which frequently depicts human misery in a satiric and sometimes nightmarish fashion. From the 1770s he was a royal court painter for Charles III and Charles IV, and when Bonaparte took the throne in 1809, Goya swore fealty to the new king. When the crown was restored to Spain's Ferdinand VII (1814), Goya, in spite of his earlier allegiance to the French king, was reinstated as royal painter. After 1824 he lived in self-imposed exile in Bordeaux until his death, reportedly because of political differences with Ferdinand. Over his long career he created hundreds of paintings, etchings, and lithographs, among them Maya Clothed and Maya Nude (1798-1800); Caprichos (1799-82); The Second of May 1808 and The Third of May 1808 (1814); Disasters of War (1810-20); and The Black Paintings (1820-23).

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