1746-1828 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 Goya :. | Self-portrait | saturnus slular sina barn | St Francis Borja at the Deathbed of an Impenitent | Donde va mama | Modo de volar |
Related Artists:
Osbert, Alphonse
French Symbolist Painter, 1857-1939 French painter. He studied at the Ecole des Beaux-Arts and in the studios of Henri Lehmann, Fernand Cormon and L?on Bonnat. His Salon entry in 1880, Portrait of M. O. (untraced), reflected his early attraction to the realist tradition of Spanish 17th-century painting. The impact of Impressionism encouraged him to lighten his palette and paint landscapes en plein air, such as In the Fields of Eragny (1888; Paris, Y. Osbert priv. col.). By the end of the 1880s he had cultivated the friendship of several Symbolist poets and the painter Puvis de Chavannes, which caused him to forsake his naturalistic approach and to adopt the aesthetic idealism of poetic painting. Abandoning subjects drawn from daily life, Osbert aimed to convey inner visions and developed a set of pictorial symbols. Inspired by Puvis, he simplified landscape forms, which served as backgrounds for static, isolated figures dissolved in mysterious light. A pointillist technique, borrowed from Seurat, a friend from Lehmann's studio, dematerialized forms and added luminosity. However, Osbert eschewed the Divisionists' full range of hues in his choice of blues, violets, yellows and silvery green. Osbert's mysticism is seen in his large painting Vision
Walter Richard Sickert
British Camden Town Group Painter, 1860-1942 British painter, printmaker, teacher and writer of German birth. Sickert was one of the most influential British artists of this century. He is often called a painter painter, appealing primarily to artists working in the figurative tradition; there are few British figurative painters of the 20th century whose development can be adequately discussed without reference to Sickert subject-matter or innovative techniques. He had a direct influence on the Camden Town Group and the Euston Road School, while his effect on Frank Auerbach, Howard Hodgkin and Francis Bacon was less tangible. Sickert active career as an artist lasted for nearly 60 years. His output was vast. He may be judged equally as the last of the Victorian painters and as a major precursor of significant international developments in later 20th-century art, especially in his photo-based paintings.
Joseph-Siffred Duplessis
(22 September 1725 - 1 April 1802) was a French painter, known for the clarity and immediacy of his portraits. He was born in Carpentras, near Avignon, into a family with an artistic bent and received his first training from his father, a surgeon and talented amateur, then with Joseph-Gabriel Imbert (1666-1749), who had been a pupil of Charles Le Brun. From 1744-47 or later he worked in Rome, in the atelier of Pierre Subleyras, who was also from the south of France, who died in 1749. In Italy Duplessis became fast friends with Joseph Vernet, another Occitan. He returned to Carpentras, spent a brief time in Lyon then arrived about 1752 in Paris, where he was accepted into the Academie de Saint-Luc and exhibited some portraits, which were now his specialty, in 1764, but did not achieve much notice until his exhibition of ten paintings at the Paris salon of 1769, very well received and selected for special notice by Denis Diderot; the Academie de peinture et de sculpture accepted him in the category of portraitist, considered a lesser category at the time. He continued to exhibit at the Paris salons, both finished paintings and sketches, until 1791, and once more, in 1801. His portrait of the Dauphine in 1771 and his appointment as a peintre du Roi assured his success: most of his surviving portraits date from the 1770s and 1780s. He received privileged lodgings in the Galeries du Louvre. In the Revolution, he withdrew to safe obscurity at Carpentras during the Reign of Terror. Afterwards, from 1796, he served as curator at the newly-founded museum formed at Versaillles, so recently emptied of its furnishings at the Revolutionary sales. His uncompromising self-portrait at this time of his life is at Versailles, where he died.