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 Francisco Goya

Name: Francisco de Goya y Lucientes.

Born: 30 March 1746 in Fuendetodos (Spain).

Died: 16 April 1828 in Bordeaux (France).

Context: the spread of the ideas of the Enlightenment, the

beginnings of Romanticism and the Napoleonic Wars in Spain.

Notable works:

The Adoration of the Name of God (1772), fresco

The Sleep of Reason Produces Monsters, etching

belonging to the Los Caprichos series (c. 1797)

Witches’ Sabbath (1797-1798), painting

The Nude Maja (1795-1800), painting

Charles IV of Spain and His Family (1800-1801),

painting

The Clothed Maja (1800-1807), painting

The Third of May 1808 (1814), painting

Saturn Devouring His Son (1821), painting

Francisco Goya is one of Spain’s most important artists, along

with illustrious figures such as Diego Velásquez (1599-1660) and

Pablo Picasso (1881-1973). He lived through a period of major

social and political upheaval, and this challenge to traditional values

is expressed in his art. His extensive body of work, featuring oil

paintings, murals, etchings, lithographs and drawings, reveals a

daring style, an innovate approach to art and a fascinating creative

force.

Goya’s life and work were both full of contradictions. As the

highest-ranking painter at the Spanish court, he faithfully depicted

the ostentatious riches of the Spanish aristocracy. Indeed, his talents

as a portraitist were recognised from the beginning of his career, and

this royal patronage allowed him to secure commissions from the

highest levels of the Spanish nobility later on. However, at the same

time he used his personal works (mainly etchings) to denounce

social injustice and human weakness. He was influenced in this by

the Enlightenment ideals which had reached Spain and were

inspiring writers, historians and politicians who wanted to

modernise Spanish society. As such, in one of the less enlightened

countries of Europe, Goya became a liberal thinker as well as a

critical painter. His work, which aims to provide a detailed analysis

of human nature, expresses the universality of suffering.

Nowadays, art historians often struggle to classify Goya’s work,

as these two sides – court painter and critical witness – resulted in

groundbreaking original compositions. The considerable variety of

his style also makes attempts at classification difficult.

 Context

Dark years in Spain

Goya’s works are fiery and violent, and at times tormented, in

terms of both theme and style. This can be explained by the

political, ideological, social and economic context that the artist

lived through, as this was a very difficult period for Spain.

In the early 19 th century, the deeply conservative nation entered

a phase of political and social decline, and its people became

increasingly poor. On 21 October 1805, the British destroyed the

combined Spanish and French fleet at the Battle of Trafalgar.

Following this disastrous defeat, Spain lost its status as a maritime

superpower, and was also cut off from its American colonies,

depriving the country of important markets. In 1806, the Spanish

Crown agreed to support Napoleon I (1769-1821) in his invasion of

Portugal: French troops were allowed to march through Spain,

which was consequently overrun by thousands of soldiers. Two

years later, King Charles IV (1748-1819) abdicated in favour of his

son Ferdinand VII (1784-1833) and fled to Bayonne in the south of

France. Napoleon I then invited Ferdinand VII to Bayonne and

persuaded him to give the crown back to his father. After he agreed,

the young king was imprisoned. Charles IV then abdicated in favour

of Napoleon I, who gave the Spanish throne to his brother Joseph

Bonaparte (1768-1844) in June 1808. However, many Spaniards

refused to accept their new leader and decided to resist: an

insurrection then broke out and spread across most of the country.

During the six years that followed, violent conflicts erupted between

the supporters of the Spanish monarchy and the afrancesados, who

supported the French in the hope that they would bring a more

enlightened regime. Spain became a battlefield dominated by

violence and fear. Goya bore witness to the atrocities of the conflict

in a series of etchings called The Disasters of War, in which he

illustrated the cruelty of the human race.

In 1812, British forces invaded Spain and drove out Joseph

Bonaparte and the French army. The Spanish parliament then tried

to establish a constitutional monarchy. However, Ferdinand VII

returned to power, enthusiastically supported by the population,

and set up an autocratic regime. He restored the Inquisition,

dissolved the parliament and had everybody who had supported the

French government imprisoned.

The ideals of the Enlightenment

The Age of Enlightenment in the 18 th century was characterised

by significant ideological, political, scientific, economic and social

progress, which paved the way for the French Revolution in 1789.

The ideas of this movement were transmitted by philosophers,

scientists, writers and artists, and soon spread across Europe (with

the exception of Spain). The movement’s proponents advocated the

use of reason to access knowledge and, through knowledge,

happiness. They believed in the value of critical thinking and

distanced themselves from traditions and the political and religious

authorities of the time. They denounced absolute monarchy and the

excesses of the ecclesiastic institutions, and advocated the

separation of Church and State. A form of committed literature

emerged, with writers such as Montesquieu (1684-1755), Voltaire

(1694-1778) and Denis Diderot (1713-1784) in France. Meanwhile,

artists looked back to Antiquity as a model of objectivity and

simplicity in terms of both subject and style, giving rise to

Neoclassicism.
 Between Neoclassicism and Romanticism

Goya was at the crossroads of several artistic movements.

Although Baroque tendencies were still present at the beginning of

the 18 th century – Goya’s early murals were largely inspired by this

aesthetic – from the second half of the century onwards, under the

influence of Enlightenment philosophy, Neoclassicism spread widely

through academic teaching, advocating a refined and controlled kind

of art. However, at the end of the 18 th century, in reaction to the

rationalism of the Enlightenment, some artists decided to give free

rein to their creativity, and used their work to demonstrate their

subjectivity, imagination and feelings. This movement, which

flourished in Germany with painters such as Caspar David Friedrich

(1774-1840), was given the name Romanticism and influenced all

forms of art. The favourite themes of the German Romantics were

melancholy, loneliness, the almighty nature and nostalgia for the

past, in particular for an imaginary and idealised Middle Ages.

At the beginning of the 19 th century, Romanticism spread to the

rest of Europe. In France, the main representatives of this

movement were Théodore Géricault (1791-1824) and Eugène

Delacroix (1798-1863). Their works provoked a scandal at the Salon

(the official exhibition) because of the use of colour and movement

in their compositions, which were wholly at odds with

Neoclassicism. Indeed, while Neoclassical works typically featured

precisely delineated drawings, Romantic paintings were dominated

by vibrant splashes of colour.

In the United Kingdom, the main representatives of

Romanticism were William Turner (1775-1851) and John Constable

(1776-1837), who painted mainly landscapes. On the whole, the

Romantic artists had a considerable influence on modern painting

with their bleak, tormented compositions.

 Engraving and lithography

Goya was one of the pioneers of lithography, a new printing

technique developed between 1796 and 1799 by the Austrian

inventor Aloys Senefelder (1771-1834). This process of serial

reproduction is based on the principle of that oil and water do not

mix. Originally, this invention interested mainly printers of music

scores and maps. As can be deduced from its name, a stone ( litho )

is used, on which a drawing ( graph ) is made using a greasy

substance. Unlike engraving on brass plates, lithography does not

require any training: the practitioner must simply master the

principle of “mirror” drawing (the printing is carried out by turning

the stone on the paper). Moreover, lithography allows many copies

of the same drawing to be printed, which explains the technique’s

incredible success.

Printing

Printing is a technique which has been used throughout the

entire history of art, from the application of hands covered in

pigments to the walls of prehistoric caves to the screenprints

produced by Andy Warhol (1928-1987). This technique requires

two surfaces – one bearing the image, one on which the image will

be printed. Two different forms of printing can be distinguished:

relief printing and intaglio printmaking. With relief printing (on

clay, wood, linoleum), the printing surface is in relief, while the rest

of the support, hollowed out with the help of a chisel or gouge (a

kind of curved chisel) will not appear on the print. Relief printing

was progressively replaced by intaglio engraving, in which incisions

are made on a metal plaque (brass, zinc, or steel) with the help of a

dry point or chisel. The entire plaque is covered in ink, then wiped

so that ink remains only in the engraved incisions. The printing is

completed with strong pressure, so that the paper comes into

contact with the inked lines. Later, artists experimented with

chemical techniques, using acid to draw on the metal plaque. In the

case of etching, for example, the metal plaque is first covered with a

varnish which resists the acid. The drawing is then done with a

point which takes the varnish away without scratching the plaque.

The plaque is subsequently immersed into an acid bath which

attacks the exposed metal. This technique is often combined with

that of aquatint, which allows semi-tints to be obtained. This is

done by projecting resin onto the plaque and using heat to set it.

When the plaque is immersed in the acid, only the zones of bare

metal around each resinous particle are attacked.

 Biography

Following in the footsteps of the Italian

masters

Francisco Goya, the son of José Goya and Gracia Lucientes, was

born in 1746 in Fuendetodos (Zaragoza) to a modest family. As a

teenager, he tried his hand at painting in the workshop of José

Luzán Martinez (1710-1785). This local religious painter mainly had

him copy engravings of the great masters. He followed his lessons

with three talented brothers: Francisco (1734-1795), Manuel (1740-

1809) and Ramón Bayeu (1746-1793).

At the time, on a cultural level, Zaragoza and the region of

Aragón were dependent on Madrid, where the Academy of Fine

Arts, created in 1752, set the rules of artistic creation and defined

good taste. In 1763 and 1766, Goya signed up for the competition to

enter the Academy, but was unsuccessful: his fieriness repulsed the

jury, which preferred more sober and quiet compositions.

At the age of 20, like the other young artists of his time, he

travelled to Italy to get inspiration from the great masters. For five

years, he lived in Naples, Rome and Palermo, where he discovered

Roman Neoclassicism. In the spring of 1771, he signed up for the

competition run by the Academy of Palermo and obtained six votes,

but no award. Goya then headed for Zaragoza, where he received his

first major commissions. From 1772 to 1774, in the Basilica of Our

Lady of the Pillar (Zaragoza) and then in the Carthusian monastery

of Aula Dei (a few miles from the city), he created his first

masterpieces, murals with religious themes, the styles of which

were clearly inspired by his Italian training.

 Painting for the nobility

In 1773, Goya, aged 27, married Josefa Bayeu, the sister of his

painter friends. This marriage may be seen as a form of recognition

of his talents as a painter: as both of Josefa’s parents were dead, it

was her eldest brother, Francisco Bayeu, who granted Goya her hand

in marriage. She bore Goya several children, most of whom died at

an early age. His son Francisco Javier, born in 1784, was the only

one to survive.

His marriage to Josefa gave his career a boost, as his brothers-in-

law obtained commissions for him from the Royal Tapestry Factory

of Santa Barbara, which ensured him stable work. He produced

tapestries in which he represented the parties and entertainments of

the young people of Madrid, depicting their contagious love for life

and carefree happiness. In his many works, including La Gallina

Ciega (“Blind Man’s Bluff”, 1791), he portrayed people with very

lively expressions and used bright colours. Before long, the success

of Goya’s tapestries propelled Goya into the world of the Spanish

nobility.

Tapestry

A tapestry is a large, flat piece of fabric made to be hung inside

or outside. It usually represents past or current events (which may

be religious, political or historical), but can also bear purely

decorative motifs. It is hung on a wall and provides both heat and

noise insulation. Tapestries are usually produced as a series: each of

them then represents an episode of the story told by the whole

series. From the Middle Ages, the technique has consisted of three

stages: the artist draws a small-scale preparatory drawing, then the

model is made in the size of the final tapestry and, finally, a weaver

weaves the tapestry on a loom. Tapestries were usually meant for

wealthier citizens, meaning nobles and clergymen, as well as the

better-off member of the bourgeoisie on occasion.

To complete his training, Goya began to engrave the paintings of

Velásquez towards the end of the 1770s. He therefore played a part

in the diffusion of the works of this great Spanish painter, whilst

learning how to create the magical atmosphere that characterised

his work. He discovered how to suggest a face, a shimmering fabric

or a jewel with a spot and a few impastos. Goya’s prints were

published in a Madrid newspaper in July and December 1778.

Two years later, in 1780, the artist made another attempt at the

entry competition to the Academy of San Fernando, with a work on

an uncontroversial subject: Christ on the Cross. For its style, he

chose the chiaroscuro popularised by Caravaggio (c. 1571-1610).

Although this work was traditional and lacked originality, it secured

his entry to the Academy by unanimous vote. He quickly rose

through the ranks and was appointed sub-director of the painting

department in 1785.

His fame as a portraitist of the nobility also grew quickly. The

following year, he was promoted to court painter. In this position,

he painted his Portrait of Charles III in Hunting Costume. This king

was renowned for his ugliness, and Goya did not try to idealise his

traits in the least. Moreover, wanting to match his name to his new

function, Goya added the nobiliary particle ‘de’ to it. In 1788, he

became Charles IV’s chamber painter and, in 1799, became his first

painter. This period of his life was mainly defined by his court

portraits, but also by several portraits of his friends in high society.

Exploring the dark side of humanity

However, in the early 1790s Goya lost his hearing following a

serious illness. As a consequence, the way he perceived his

environment changed and he started looking more critically at the

world. He then developed an interest in the dark side of human

nature and explored the supernatural world, haunted by fantastical

characters and frightening creatures. Moreover, he spent time with

thinkers inspired by the Enlightenment, who influenced him and

sharpened his critical point of view. He then made a series of 80

aquatinted etchings under the title Los Caprichos. Published in

1799, these etchings illustrated moral tragedies, ignorance and

foolish, and also featured subtle political allusions. This series

marked a new turning point in Goya’s career.

The Peninsular War (1808-1814) further fuelled his reflections

on humanity. Horrified by the behaviour of the warring parties, he

drew sketches based on his observations, which he later developed

into a series of etchings entitled The Disasters of War. At the same

time, he also continued his work of social criticism, in particular

with Yard with Lunatics (1808-1812), a painting in which he

denounced the living conditions of those suffering from mental

illness.

However, Goya generally stayed away from politics; he was more

preoccupied with his career. This was why he accepted a position as

official painter to the French king. He then made paintings of French

officers such as the general Nicolas Guye (1773-1845), Commander

of the Royal Order of the Two Sicilies and of the Royal Order of

Spain. This work would cost Goya dearly, as at the end of the war he

was accused of collaboration by the court of the Inquisition. Stating

that he had painted Joseph Bonaparte on the basis of engravings and

not from life, he was quickly acquitted. He even returned to his

position at Ferdinand VII’s side, as the king was happy to keep such

a well-known artist in his employment.

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