Spanish 1746-1828 Francisco de Goya Locations was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso. Goya married Bayeu's sister Josefa in July 25, 1773. His marriage to Josefa (he nicknamed her "Pepa"), and Francisco Bayeu's membership of the Royal Academy of Fine Art (from the year 1765) helped him to procure work with the Royal Tapestry Workshop. There, over the course of five years, he designed some 42 patterns, many of which were used to decorate (and insulate) the bare stone walls of El Escorial and the Palacio Real de El Pardo, the newly built residences of the Spanish monarchs. This brought his artistic talents to 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, which led to his appointment as a member of the Royal Academy of Fine Art. In 1783, the Count of Floridablanca, a favorite of King Carlos III, commissioned him to paint his portrait. He also became friends with Crown Prince Don Luis, and lived in his house. His circle of patrons grew to include the Duke and Duchess of Osuna, whom he painted, the King and other notable people of the kingdom. After the death of Charles III in 1788 and revolution in France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.  Related Paintings of Francisco de Goya :. | Don Andres del Peral | Fire at Night | General Jose de Urrutia y de las Casas | Portrait of | Portrait of Jose Monino |
Related Artists:
Jean Raoux
French Painter, 1677-1734, French painter. He trained first in Montpellier with Antoine Ranc (1634-1716), in whose studio he completed his early painting Ariadne on Naxos (1701; Montpellier, Mus. Fabre). He subsequently moved to the Paris studio of Bon Boullogne and in 1704 won the Prix de Rome with David Slaying Goliath (untraced). He completed his education at the Acad?mie de France in Rome and also spent time in Florence and Padua. For the Cathedral at Padua he executed an Annunciation and a Visitation (both in situ). In 1707-9 Raoux was in Venice, where he made contact with his future patron Philippe de Vendeme (1665-1727), Grand Prior of the Order of the Knights of Malta. From 1714 he lodged in the Grand Prior's Paris residence, the Temple, a privilege that was renewed in 1719 by Vendeme's successor Jean-Philippe,
Loo, Jacob van
Flemish Baroque Era Painter, 1614-1670 was a Dutch painter and popularized around 1650 a close-focus concert on a loggia or terrace. So Van Loo became known for his conversation groupings with a subtle color palette, and according to Arnold Houbraken famous for his nudes. He was the founder of the Van Loo family of painters. Van Loo was born in Zeeland in the Dutch Republic. His father might have been a notary, but most time he is regarded as the son of a painter, Jan van Loo, who trained him. (As part of the city archives in Sluis have been destroyed during World War II it is impossible now to make out what is true). His early influences include Thomas de Keyser and Jacob Adriaensz Backer. In 1642, Jacob moved to Amsterdam, where his contemporaries included Rembrandt, Frans Hals, and Bartholomeus van der Helst. In 1643 he married the sister of the painter Martinus Lengele and had six children. They lived on Rozengracht, in the Jordaan and Eglon van der Neer became one of his pupils. In 1660, Van Loo fled the city after having fatally stabbed someone in his belly, during a fight in an inn. He was sentenced to death in absentia and was forever banned from the state of Holland. Van Loo settled in Paris, where he was admitted to the Acad??mie de peinture et de sculpture and where he died in 1670. Van Loo's work was done in the Baroque style, which had begun in Rome and which was becoming a Europe-wide phenomenon in this period. He was a major influence on Johannes Vermeer, when painting Diana and Her Companions. He painted portraits of Johan Huydecoper van Maarssenveen, his wife, his sister Leonara Huydecoper, married to Jan J.
CRESPI, Giovanni Battista
Italian Baroque Era/Mannerist Painter, ca.1575-1633