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 :. | Inquisition Scene | Knife Grinder | Maria Luisa | Milkgirl from Bordeaux | Witches Sabbath |
Related Artists:
Polenov, Vasily
Russian, 1844-1927 He began a systematic study of drawing in 1856, first with the landscape painter Pavel Cherkasov (1834-1900), then from 1859 to 1861 with Pavel Chistyakov (1832-1919). He also took lessons with Chistyakov, whom he considered his most important teacher, in 1871 and early 1872, after finishing his academic course. From 1863 to 1871 Polenov studied at the St Petersburg Academy of Art, where he met members of the progressive wing of the Russian artistic intelligentsia, and occasionally in the faculty of law at St Petersburg University. The classical education he received at home, his academic training and lessons with Chistyakov led Polenov towards an 'exalted' history painting, although he personally inclined towards landscape. This dualism remained in Polenov's work for the duration, and not until the late 1880s and early 1890s did he achieve a stable relationship between the two forms. The whole of his student career and the initial postgraduate, scholarship period was largely taken up with historical works: from academic compositions, for example the Resurrection of Jairus's Daughter (1871; Pskov, Mus. Hist., Archit. & A.), for which he received the Grand Gold Medal and a travel bursary (in Germany and Italy, 1872-3, and France, 1873-6), to numerous pictures and sketches on subjects from antiquity and medieval history, executed in France or shortly after his departure from there, under the perceptible influence of Paul Delaroche
Josef Danhauser
Josef Danhauser (August 19, 1805, Laimgrube (now a part of Mariahilf or Neubau) - May 4, 1845) was an Austrian painter, one of the main artists of Biedermeier period, together with Ferdinand Georg Waldmeller, Peter Fendi, among others. His works, not very appreciated in his days, dealt with very moralising subjects and they had a clear influence of William Hogarth. Joseph Danhauser was born in Vienna in 1805, the eldest son of sculptor and furniture manufacturer Joseph Ulrich Danhauser and his wife Johanna (nee Lambert). He took his first painting lessons with his father and he later assisted the Vienna Academy of Fine Arts. He studied with Johann Peter Krafft and made his first exhibition 1826. Invited by Johann Ladislaus Pyrker, patriarch of Venice, he visited the city of Doges, where he started to study the Italian masters. He came back to Vienna via Trieste in 1827, visiting Prague. That very year he painted Ludwig van Beethoven's death mask, roughly 12 hours after his death and a water-colour representing his deathbed. In 1828, he spent some time in Eger, with an invitation of this Hungarian city archbishop Pyrker. He solicited him for some pictures for the gallery of the Archdiocese. After his father's death in 1829, his brothers and he managed his furniture factory during the Biedermeier movement, being the precursors of modern design. That made him put his painting career aside. In 1833, he responded to a second invitation from Eger's archbishop and he painted The martyr of Saint John for a new basilica in the city and he received the Vienna Academy prize for his picture Die Verstobung der Hagar and he specialised in Genre works. In 1838, he was appointed vice-rector of the Academy and married Josephine Streit, who was the daughter of a physician and with whom he had three children, Josef, Marie and Julie, born in 1839, 1841 and 1843 respectively. Josef Danhauser was appointed professor of historical Painting at the Academy in 1841, but he left this occupation and he travelled around Germany and the Netherlands with the textile maker, art aficionado and art sponsor Rudolf von Arthaber. In this journey, he was very interested in the Dutch School and the format of his works was littler. He died of typhus in Vienna in 1845. They named a street with his name in Vienna in 1862.
Friedrich August von Kaulabch
Munich 1850-1920 Ohlstadt