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 :. | Nude Woman Holding a Mirror | Les Vieilles or Time and the Old Women | There was no remedy | Atropos | The Meadow of San Isidro on his Feast Day |
Related Artists:
Vincenzo Catena
Italian c1480-1531 Vincenzo Catena Location Italian painter. His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits. The latter, as Vasari observed, include several of his finest works.
camille corot
Paris 1796-Paris 1875 Corot's students included Alfred Sisley, Camille Pissarro, Berthe Morisot, Stanislas Lepine, Adolphe Appian and Dagnan-Bouveret. French painter, draughtsman and printmaker. After a classical education at the Coll?ge de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family's continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon's death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers
Mary Beale
English Baroque Era Painter, 1633-1699 was an English portrait painter. She became one of the most important portrait painters of 17th century England, and has been described as the first professional female English painter. Beale was born in Barrow, Suffolk, the daughter of John Cradock, a Puritan rector. Her mother, Dorothy, died when she was 10. She married Charles Beale, a cloth merchant from London, in 1652, at the age of 18. Her father and her husband were both amateur painters, her father being a member of the Painter-Stainers' Company, and she was acquainted with local local artists, such as Nathaniel Thach, Matthew Snelling, Robert Walker and Peter Lely. She became a semi-professional portrait painter in the 1650s and 1660s, working from her home, first in Covent Garden and later in Fleet Street. The family moved to a farmhouse in Allbrook, Hampshire in 1665 due to financial difficulties, her husband having lost his position as a clerk of patents, and also due to the Great Plague in London. For the next five years, a 17th-century two storey timber-framed building was her family home and studio. She returned to London in 1670, where she established a studio in Pall Mall, with her husband working as her assistant, mixing her paints and keeping her accounts. She became successful, and her circle of friends included Thomas Flatman, poet Samuel Woodford, Archbishop of Canterbury John Tillotson, and Bishops Edward Stillingfleet and Gilbert Burnet. She became reacquainted with Peter Lely, now Court Artist to Charles II. Her later work is heavily influenced by Lely, being mainly small portraits or copies of Lely's work. Her work became unfashionable after his death in 1680.