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).  Related Paintings of Francisco de goya y Lucientes :. | What more can one do | Water Carrier | Witches'Sabbath of The Great Goat | The third May | Gumersinda Goicoechea |
Related Artists:
Jeanne-Philiberte Ledoux
painted Portrait of a lady, said to be the Duchesse de Choiseul in 18th century
Medardo Rosso
1858 Turin-1928 Milan,was an Italian sculptor. He is thought to have developed the Post Impressionism style in sculpture along with Auguste Rodin. Medardo Rosso was born in Turin, Italy, in 1858, the son of the city stationmaster. Later his family mover to Milano (Milan). As a child Rosso played hooky from school to visit a monument mason who taught him to handle a chisel and hammer. This distressed and angered his parents. At the age of 23, after a period of military service as unsatisfactory as his home life, he enrolled at the Berea Academy in Milano, where he learned to draw classical statues and copy them in gesso. But academic art appeared to him entirely artificial, unrelated to the world around him. Before long he helped to organize the Berea students into demanding life models for the drawing classes. As a result of his revolutionary behavior he was expelled from the school. He moved to Rome, where he lived in great poverty, sleeping among the ruins of the Colosseum. To the end of his life Rosso battled unremittingly against the academicians. What absorbed, even obsessed, him was the problem of interpreting life itself. In 1882, some time before he saw any Impressionist paintings, he produced his fully impressionistic sculptures, The Street Singer and Lovers under the Lamplight. In 1884 some friends arranged an exhibition for him in Paris, where he lived for a time in a cheap boarding-house.
Alexandre Cabanel
1823-1889 French Alexandre Cabanel Locations French painter and teacher. His skill in drawing was apparently evident by the age of 11. His father could not afford his training, but in 1839 his departement gave him a grant to go to Paris. This enabled him to register at the Ecole des Beaux-Arts the following October as a pupil of Francois-Edouard Picot. At his first Salon in 1843 he presented Agony in the Garden (Valenciennes, Mus. B.-A.) and won second place in the Prix de Rome competition (after Lon Benouville, also a pupil of Picot) in 1845 with Christ at the Praetorium (Paris, Ecole N. Sup. B.-A.). Both Cabanel and Benouville were able to go to Rome, as there was a vacancy from the previous year. Cabanel Death of Moses (untraced), an academic composition, painted to comply with the regulations of the Ecole de Rome, was exhibited at the Salon of 1852. The pictures he painted for Alfred Bruyas, his chief patron at this time (and, like Cabanel, a native of Montpellier), showed more clearly the direction his art had taken during his stay in Italy. Albayde, Angel of the Evening, Chiarruccia and Velleda (all in Montpellier, Mus. Fabre) were the first of many mysterious or tragic heroines painted by Cabanel and show his taste for the elegiac types and suave finish of the Florentine Mannerists.