Goya (eVideo, 2010) [WorldCat.org] 852994898 Language Note: Sung in English, with English, German, French, Spanish, Italian, or Korean subtitles. This edition in English and an undetermined language with English subtitles. Notes: Music and libretto by Gian Carlo Menotti. Program notes in English, French, and German (17 p. : ill. ; 18 cm.) inserted in container. Title from resource description page (viewed Jun. 3, 2013). Credits: Stage director, Kasper Bech Holten; stage and costume designer, Steffen Aarfing; lighting Jesper Kongshaug; choreography, Nikolaus Adler; directed for TV and video by Karin Vetil and Thomas Bogensberger ; an ORF production in cooperation with the Theater an der Wien.

Performer(s): Plácido Domingo (Francisco de Goya y Lucientes) ; Michelle Breedt (Doña Cayetana) ; Íride Martínez (María Luisa) ; Andreas Conrad (Charles IV) ; Maurizio Muraro (Don Manuel Godoy) ; Christian Gerhaher (Martín Zapater) ; Festival-Chor KlangBogen Wien ; Radio-Symphonieorchester Wien ; Emmanuel Villaume, conductor. Event notes: Recorded in performance, Theater an der Wien, 2004. Description: 1 online resource (101 min.). Contents: Opening/Prelude -- Act I, Scene 1: Burn all the letters, burn all the marriage vows (Tavern Singer, Goya, Chorus, Martin) -- Act I, Scene 1: Did you see her? (Goya, Martin, Duchess) -- Act I, Scene 1: Paradise of flying angels (Goya, Duchess, Martin) -- Act I, Scene 1: Did you hear that?

(Goya, Martin, Innkeeper, Chorus) -- Act I, Scene 1: Intermezzo -- Act I, Scene 2: Wait here (Maid, Goya) -- Act I, Scene 2: Look at the poor man (Chorus, Goya, Duchess) -- Act I, Scene 2: Now that we're alone ... (Goya, Duchess) -- Act I, Scene 2: Ah, do not laugh (Goya) -- Act I, Scene 2: Is the portrait finished? (Duchess, Goya) -- Act II: No, no, no! (Queen) -- Act II: What is the matter?

(Godoy, King, Queen, Goya) -- Act II: Their Majesties are coming (Godoy, Major Domo, Queen, Duchess, King, Goya) -- Act II: The King orders you to leave the palace immediately (Godoy, Duchess, Chorus, Goya, King) -- Act III, Scene 1: Signora Duchessa (Martin, Duchess) -- Act III, Scene 1: I'm also hated, Martin, loved and hated (Duchess, Maid) -- Act III, Scene 1: Oh, my poor Cayetana! (Queen, Duchess, Godoy) -- Act III, Scene 1: Good God ... (Queen, Godoy, Martin, Goya) -- Act III, Scene 1: Out of my dreams (Goya) -- Act III, Scene 1: Intermezzo -- Act III, Scene 2: There he is, the great man (Leocadia) -- Act III, Scene 2: Teresa! Maria! Rosario! Antonia! (Goya, Chorus, Three Women) -- Act III, Scene 2: Who is it? Who's there?

(Goya, Chorus) -- Act III, Scene 2: You saw how cruel man can be (Goya, Chorus, Duchess) -- End Credits. Spanish Painters: Francisco de Goya (1746 - 1828) Francisco de Goya Home Modern Spanish Painting Francisco de Goya Romanticism: Francisco de Goya Francisco Goya is one of Spain's most famous painters and is still highly celebrated today. His style fits into the genre of Romanticism , which is especially present in his paintings of the Spanish Royal family. However, one cannot deny that his later works contained aspects of both the political and personal issues present in Goya's life. Goya experienced the ups and downs of painting during his career, from being the most popular court painter in Spain, to being a deaf recluse in the Quinta del Sordo, in Madrid. Francisco Goya (1746-1828) Francisco Goya was born in Fuendetodos, Aragon, in Spain, yet moved to Zaragoza shortly afterwards. He then studied with many artists as an apprentice. Firstly with José Luzan when Goya was only fourteen.

After this, Goya moved to study in Madrid with a painter revered by the Spanish Royal Family, Anton Raphael Mengs. He then moved to Rome, painting frescoes in churches and entering art competitions. Francisco Goya also studied with the Spanish painter Francisco Bayeu y Subías, whose sister he later married. During this period, Goya developed his most famous style. In 1789, Francisco Goya became an official Court painter and proceeded in painting several pictures of the Spanish Royal family. Three years later, Francisco Goya suffered a terrible illness which left him deaf. This incident affected Francisco Goya severely and led him to begin producing much darker paintings and etchings. 'Los Caprichos' (The Whims) were a series of experimental etchings, produced by Francisco Goya in 1799, which depicted many satirical scenes, especially relating to the Spanish clergy and nobility. The most famous of these etchings is No.43 'The Sleep of Reason Produces Monsters' (El sueño de la razón produce monstruos). The Museo del Prado , in Madrid, now owns 'Los Caprichos'.

Between 1810 and 1820, Francisco Goya produced another series of images, this time prints, entitled 'Los desastres de la guerra' (The Disasters of War). These prints were extremely gruesome and showed many images of death and destruction. This set of prints were created by Francisco Goya as a protest against the violence during the uprising of the 2nd May 1808, or Dos de Mayo 1808. Goya then painted two paintings about these events, known as 'El dos de mayo de 1808 en Madrid' (The 2nd of May of 1808 in Madrid) and 'El tres de mayo de 1808 en Madrid' (The 3rd of May of 1808 in Madrid). The 2nd May, or Dos de Mayo, is an extremely important day in Spanish culture as it marks the day that the Spanish began their uprising against the occupation of Madrid by Napoleon. Today, this date is celebrated with a celebration in Madrid , Las Fiestas del Dos de Mayo.

Despite the horrific subject matter, the prints had some amusing names such as 'The Same' (Lo mismo) and 'What good is a cup?' (¿De qué sirve una taza?). During the later years of his life, Francisco Goya became increasingly introvert, spending all his time in his villa, the Quinta del Sordo. It was here, from 1819 to 1823, that Goya painted The Black Paintings (Las pinturas negras), a series of dark paintings, which Goya painted as frescoes directly onto the inside walls of the house. One of the most famous of this series of paintings is 'Saturn Devouring his Son' (El Saturno). Today, these paintings can be viewed in the Museo del Prado in Madrid, where they are on permanent display. Francisco Goya has been an influence for many artists. His work was used extensively in the play 'El sueño de la razón' by Antonio Buero Vallejo, written in 1969. Buero Vallejo used Goya's lfe and work as a subtle tool to express his feelings about the dictatorship of Francisco Franco of the time.

Buero Vallejo, who originally trained as a painter, also wrote the play to offer his own interpretation on the works of Francisco Goya. © Spanish Arts 2011 Francisco de Goya - Spain Then and Now (Real Academia de Bellas Artes de San Fernando ) was founded in 1752, with the aim of improving the standard of Spanish artists and architects. French and Italian artists were the models and mythological or biblical themes the preferred subject matter. Spanish traditions were largely shunned. It so happens that Goya was amongst those who competed for a place in the Academy. He was turned down, first in 1763 and again in 1766, without receiving a single vote from the judges. His temperament rebelled against the neoclassical formality imposed by the Academy. Goya was finally elected a member of the Academy in 1780. By this time he had visited Italy and had managed subsequently to combine some of the demands of classical decorum with his own originality. We can see this in the figures and cartoons he drew for the Tapestry Factory in Madrid from 1775.

Subjects were frequently arranged in groups in the form of a pyramid according to neoclassical principles, but the topics and figures were mostly from every day Spanish life . Los Caprichos: La cometa From 1780 on, Goya moved up in the world. In 1783, he received a commission to paint the Count of Floridablanca, the Prime Minister of Spain. This was followed by portraits of members of the royal family, including one of King Charles III in 1786. In 1789, he was appointed court painter by the newly crowned Charles IV. Ten years later he was named first court painter. In late 1792 early 1793, while on a trip to Andalusia , Goya suffered a mysterious illness which left him totally deaf for the rest of his life. It did not, however, interfere with his amazing output, and probably played an important role in giving freer rein to his imagination. Goya self portrait ca.

1795 He continued painting portraits but at the same time developed an increasing interest in graphic work (etchings), the first series of which, (Los Caprichos: Caprices or Whims) were published in 1799. These prints portray a much more personal vision of contemporary society with all its foibles, prejudices and injustices. These disquieting visions were to remain part of his artistic world for the rest of his life, intensifying if anything in their nightmarish quality as he grew older. Goya’s work was vast and embraced all levels of Spanish society, from the underworld of witches and prostitutes to the salons of the nobility and royal court. He painted “majos” and “majas” (the contemporary fashion setters of the street), saints and sinners. The Inquisition, the church, bullfighting, war, Spanish customs, human foibles and superstitions, all came under his critical eye. El sueño de la razón produce monstruos Goya does not flatter; if anything he “demythifies”. Royalty and nobility are painted as they are, warts and all. War is not heroic but savage and unfeeling.

Goya tears away the façade of society and reveals the darker side of human nature. In the Age of Enlightenment (as the 18th century is frequently called), Goya plunges into our inner being, our unconscious, and exposes a frighteningly irrational and bestial world, sometimes with brutal frankness, sometimes with ironic humour. One of his best known prints from Los Caprichos bears the words “El sueño de la razón produce monstrous” (“The Sleep of Reason Produces Monsters”). Beneath the print, a caption clarifies: “La fantasía abandonada de la razón, produce monstrous imposibles: unida con ella, es madre de las artes y origen de sus maravillas” (“Imagination abandoned by reason produces impossible monsters; united with her, she is the mother of the arts and the source of their wonders”). Goya has frequently been called the first modern artist. He breaks with the conventions and rules of Neoclassicism, and anticipates Romanticism in his use of local colour and self expression. Although he advocates reason, he paints with emotion. Even his paintings of royalty convey a personal attitude rather than the regal presence that decorum would normally demand.

Spain and Spaniards may be Goya’s subject matter, but their portrayal tells a lot about Goya himself, his views on society, its customs and institutions. He was in his way a psychologist, analyzing both himself and the human condition. He has something to say to all of us. Image of La Cometa from: #mediaviewer/File:La_cometa.jpg Goya self portrait from: Image of El sueño de la razón from Museo del Prado: Francisco de Goya - Painter, Illustrator - Biography.com Francisco de Goya Sometimes called the father of modern art, Spanish artist Francisco de Goya painted royal portraits as well as more subversive works in late 1700s and early 1800s. IN THESE GROUPS “The object of my work is to report the actuality of events.” Francisco de Goya Synopsis A famed painter in his own lifetime, Francisco de Goya was born on March 30, 1746, in Fuendetodos, Spain. He began his art studies as a teenager and even spent time in Rome, Italy, to advance his skills. In 1770s, Goya began to work for Spanish royal court.

In addition to his commissioned portraits of the nobility, he created works that criticized the social and political problems of his era. Early Years The son of a guilder, Goya spent some of his youth in Saragossa. There he began studying painting around the age of fourteen. He was a student of José Luzán Martínez. At first, Goya learned by imitation. He copied the works of great masters, finding inspiration in the works of such artists as Diego Rodríguez de Silva y Velázquez and Rembrandt van Rijn. Later, Goya moved to Madrid, where he went to work with brothers Francisco and Ramón Bayeu y Subías in their studio. He sought to further his art education in 1770 or 1771 by traveling to Italy. In Rome, Goya studied the classic works there. He submitted a painting to a competition held by the Academy of Fine Arts at Parma. While the judges liked his work, he failed to win the top prize. Goya and The Spanish Court Through the German artist Anton Raphael Mengs, Goya started to create works for Spain's royal family.

He first painted tapestry cartoons, which were artworks that served as models for woven tapestries, for a factory in Madrid. These works featured scenes from everyday life, such as "The Parasol" (1777) and "The Pottery Vendor" (1779). In 1779, Goya won an appointment as a painter to the royal court. He continued to rise in status, receiving admission into the Royal Academy of San Fernando the following year. Goya began to establish a reputation as a portrait artist, winning commissions from many in royal circles. Works, such as "The Duke and Duchess of Osuna and their Children" (1787-1788), illustrate Goya's eye for detail. He skillfully captured the tiniest elements of their faces and clothes. Illness In 1792, Goya became completely deaf after suffering from an unknown malady. He started to work on non-commissioned paintings during his recovery, including portraits of women from all walks of life. His style changed somewhat as well. Continuing to thrive professionally, Goya was named the director of the Royal Academy in 1795.

He may have been part of the royal establishment, but he did not ignore the plight of the Spanish people in his work. Turning to etchings, Goya created a series of images called "Los Caprichos" in 1799, which has been viewed his commentary on political and social events. The 80 prints explored the corruption, greed, and repression that was rampant in the country. Even in his official work, Goya is thought to have cast a critical eye on his subjects. He painted the family of King Charles IV around 1800, which remains one of his most famous works. Some critics have commented that this portrait seemed to be more a caricature than a realist portrait. Goya also used his art record moments of the country's history. In 1808, France, led by Napoleon Bonaparte, invaded Spain. Napoleon installed his brother Joseph as the country's new leader. While he remained a court painter under Napoleon, Goya created a series of etchings depicting the horrors of war. After Spanish royalty regained the throne in 1814, he then painted "The Third of May," which showed to the true human costs of war.

The work depicted the uprising in Madrid against French forces. Final Years With Ferdinand VII now in power, Goya kept his position in the Spanish court despite having worked for Joseph Bonaparte. Ferdinand reportedly once told Goya that "You deserve to be garroted, but you are a great artist so we forgive you." Others in Spain were not so lucky as the king sought to crackdown on liberals who sought to make the country a constitutional state. Despite the personal risks, Goya expressed his dissatisfaction with the Ferdinand's rule in a series of etchings called "Los disparates." These works featured a carnival theme and explored folly, lust, old age, suffering and death among other issues. With his grotesque imagery, Goya seemed to illustrate the absurdity of the times. The political climate subsequently became so tense that Goya willingly went into exile in 1824. Despite his poor health, Goya thought he might be safer outside of Spain. Goya moved to Bordeaux, France, where he spent the remainder of his life. During this time, he continued to paint. Some of his later works included portraits of friends also living in exile.

Goya died on April 16, 1828, in Bordeaux, France. Personal Life Goya married Josefa Bayeu y Subías, the sister of his art teachers Francisco and Ramón Bayeu y Subías. The couple had one child who lived to be an adult, their son Xavier. Fact Check We strive for accuracy and fairness. If you see something that doesn't look right, contact us ! Citation Information Francisco de Goya (1746–1828) and the Spanish Enlightenment | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Francisco de Goya (1746–1828) and the Spanish Enlightenment See works of art Works of Art (16) Essay Francisco José de Goya y Lucientes (1746–1828) is regarded as the most important Spanish artist of the late eighteenth and early nineteenth centuries. Over the course of his long career, Goya moved from jolly and lighthearted to deeply pessimistic and searching in his paintings, drawings, etchings, and frescoes.

Born in Fuendetodos, he later moved with his parents to Saragossa and, at age fourteen, began studying with the painter José Luzán Martínez (1710–1785). In 1746, the year of Goya’s birth, the Spanish crown was under the rule of Ferdinand VI. Subsequently, the Bourbon king Charles III (r. 1759–88) ruled the country as an enlightened monarch sympathetic to change, employing ministers who supported radical economic, industrial, and agricultural reform. Goya came to artistic maturity during this age of enlightenment. In Madrid, the painter brothers Francisco (1734–1795) and Ramón Bayeu y Subías (1746–1793) had set up shop in 1763 and Goya soon joined their studio, eventually marrying their sister Josefa. He visited Italy in 1770, after two failed attempts in drawing competitions at the Real Academia des Bellas Artes in San Fernando. Goya’s introduction to the royal workshops, a relationship that lasted the rest of his life and spanned four ruling monarchies, began in 1774.

The German painter Anton Raphael Mengs asked Goya to work on tapestry cartoons , or preliminary paintings, for the Royal Tapestry Factory at Santa Bárbara. Goya painted sixty-three cartoons for two royal palaces, which included nine hunting scenes for the dining room at San Lorenzo del Escorial, and ten cartoons for tapestries destined for the dining room at El Pardo. The tapestries glorify leisure activities of the rich, poor, young, and old in a playful Rococo manner comparable to the style of Tiepolo . The Blind Guitarist ( 22.63.29 ) was originally designed for the antechamber at El Pardo and comes from this genre. The tapestry weavers, frustrated by its complex composition, returned the cartoon to Goya. However, before simplifying it, Goya preserved the original design in a copperplate etching, the largest print he ever made. Las Meninas (promised gift) is one of a group of etchings completed by Goya based on paintings by Velázquez . Goya made these etchings upon Mengs’s suggestion that he study Velázquez portraits in the royal collection.

As Goya continued to move in circles of royal patronage, he received more commissions from the aristocracy. Between 1785 and 1788, he painted executives and their families from the Bank of San Carlos, including the count of Altamira. The Condesa de Altamira and Her Daughter ( 1975.1.148 ) shows his skill at capturing the sensitivity of the sitters and his mastery of a painterly technique, which portrays in broad brushstrokes the brilliance of fine clothing and other accoutrements of wealth. Don Manuel Osorio Manrique de Zuñiga ( 49.7.41 ), a portrait of the Altamiras’ third son, shows Goya’s interest in surface pattern and the play of light; the caged birds symbolize the innocence of youth. In a later child’s portrait of astonishing emotional evocation ( 61.259 ), the symbolism alludes to Spain’s military struggle with France. At the age of forty, Goya was appointed painter to King Charles III, and, in 1789, he was promoted to court painter under the newly accessioned Charles IV (r.

1788–1808). The year 1789 also marked the fall of French monarchy (with Charles IV unwilling to assist his cousin Louis XVI), and in 1793 France declared war on Spain. Around this time, Goya traveled to Cádiz in Andalusia with Sebastián Martínez y Pérez, a wealthy businessman and art collector. Goya’s remarkable portrait of his friend ( 06.289 ) captures the subject’s likeness and intensity by emphasizing his personal expression, inner character, and humanity. His social standing is conveyed in his demeanor and the quality of his clothing, and his role as an astute collector of books, prints, and paintings is suggested by the sheet of paper in his hand. Having survived an extended period of illness in Cádiz, Goya emerged months later completely deaf, but able to return to Madrid in 1793.

In 1799, he completed and published a suite of eighty allegorical etchings called the Caprichos; Out Hunting for Teeth ( 18.64.12 ) and The Sleep of Reason Produces Monsters ( 18.64.43 ) are two etchings from this series. They introduce a world of witches, ghosts, and fantastic creatures that invade the mind, particularly during dreams, nightmarish visions symbolizing a world against reason. That same year, Goya was promoted by the crown to first court painter and spent the next two years working on a large-scale portrait of the family of Charles IV ( Museo del Prado, Madrid, P00726 ). Harking back to the compositions of Velázquez, Goya placed the royal family in the foreground and, in the background, himself at an easel. The painting is simultaneously a depiction of a united, strong, and regal monarchy, and a shockingly naturalistic—in some cases even grotesque—group portrait. Goya, Napoleon, and Nineteenth-Century Spain The enlightened monarchy of Charles IV came to an end when Napoleon’s armies invaded Spain in 1808.

The brutal incursion—which included mass executions of Spanish citizens who rose up in opposition to Napoleon’s invasion—culminated in French occupation and the installation of Napoleon’s brother, Joseph Bonaparte, on the Spanish throne. Although repulsed by French atrocities, Goya pledged allegiance to Bonaparte, and painted members of the French regime. In 1811, he was awarded the Royal Order of Spain. The Bourbon monarchy was restored with Napoleon’s fall in 1814. But the new king, Ferdinand VII, son of Charles IV, did not share the enlightened views of his predecessor. He revoked the Constitution, reinstated the Inquisition, and declared himself absolute monarch. Not long afterward, he launched a reign of terror. Questioned about his loyalty to the occupiers, Goya demonstrated his allegiance by commemorating Spain’s uprising against the French regime in two paintings: The Second of May 1808 ( Museo del Prado, Madrid, P00748 ) and The Third of May 1808 ( Museo del Prado, Madrid, P00749 ).

In the first, Goya depicts a brutal scene in Madrid’s city center, the Puerta del Sol, where Spaniards fought against French-led soldiers on horseback. The second work illustrates the execution of captured Spaniards on the Príncipe Pío, a hill just outside Madrid at that time. The paintings exemplify the dark tonalities and fluid brushstrokes representative of Goya’s later period, as well as the stylistic influences of Velázquez and Rembrandt . Goya continued his account of the atrocities of war in a series of eighty-five prints called The Disasters of War. Executed from 1810 to 1820, the series depicts the travesties witnessed during Spain’s struggle for independence from France. Unlike the Caprichos, this series was never published during Goya’s lifetime, probably because of its pronounced indictment of war. One Can’t Look ( 22.60.25.26 ), an etching from the series, is a powerful and emotionally charged scene of French occupation and Spanish retaliation that recalls the painting The Third of May 1808.

The innovative composition—critical elements are placed outside the picture plane and the immediate action is forced to the foreground—amplifies the overall impact. Although Goya’s graphic work is grounded in the dramatic Baroque tradition of contrasting lights and darks, recalling Tiepolo’s war scenes and Rembrandt’s etchings , The Disasters of War etchings employ the tradition within a unique compositional framework. Having no royal commissions during the tumultuous monarchy of Ferdinand VII, Goya became isolated from political and intellectual life in Madrid. Between 1820 and 1823, he completed a series of very private works in fresco at his small country retreat, Quinta del Sordo (the Deaf Man’s House). Today referred to as the Black Paintings, they are compelling in their sinister and often horrifying scenes with dark, emotional undertones. Dissatisfied with political developments in Spain, Goya retired to Bordeaux in 1824 under the guise of seeking medical advice. His final years were spent there and in Paris. James Voorhies Department of European Paintings, The Metropolitan Museum of Art October 2003 Citation Voorhies, James.

“Francisco de Goya (1746–1828) and the Spanish Enlightenment.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2003) Further Reading Hughes, Robert. Goya. New York: Knopf, 2003. Ives, Colta, and Susan Alyson Stein. Goya in The Metropolitan Museum of Art. Exhibition catalogue. New York: Metropolitan Museum of Art, 1995. See on MetPublications Additional Essays by James Voorhies Goya - definition of Goya by The Free Dictionary Goya - definition of Goya by The Free Dictionary (ˈɡɔɪə; Spanish ˈɡoja) n (Biography) Francisco de (franˈθisko de), full name Francisco José de Goya y Lucientes. 1746–1828, Spanish painter and etcher; well known for his portraits, he became court painter to Charles IV of Spain (1799).

He recorded the French invasion of Spain in a series of etchings The Disasters of War (1810–14) and two paintings 2 May 1808 and 3 May 1808 (1814) Go•ya Francisco Goya - 389 artworks - WikiArt.org Francisco Goya Francisco José de Goya y Lucientes Francisco José de Goya y Lucientes Self-Portrait in the Workshop - Francisco Goya Born: 30 March 1746 Wikipedia: Francisco Goya was a talented Spanish painter and printmaker, and is considered one of the last of the Old Masters of painting, as well as the first of the moderns. He began his apprenticeship in painting at the age of 14, and his talent was quickly recognized. He first submitted entries to the Royal Academy of Fine Arts in 1763, and then later in 1766, both of which were denied. But, in 1771, he traveled to Rome and won second place in a painting competition and secured employment designing tapestries at the Royal Tapestry Factory.

He completed over 42 patterns, which were used to cover the walls in the newly built palaces around Madrid, giving him an immediate royal audience. In the 1780’2 he became friendly with the crown prince of Spain, spending two summers with him and his family, paintings portraits, and expanding his circle of royal patrons. He was given a salaried position as a court painter in 1786, and in 1799 was made the first court painter, painting for the king and his family, as well as the Spanish nobility. Between the years of 1792 and 1793, Goya suffered from a mysterious illness, which made him deaf, and affected his mental behavior. Some current medical scientists believe that his deafness was a result of the lead in which he used in his paints, whereas others believe it may have been some sort of viral encephalitis. Either way, its effect on Goya cannot be understated. After his illness, he became withdrawn and introspective, and began painting a series of disturbing paintings on the walls of his house in Quinta del Sordo.

His earlier themes of merry festivals and cartoons changed into depictions of war and corpses, representing a darkening of his mood. Whether this has more to do with the French declaration of war on Spain or some medical problem leading to mental disturbance is up to debate. As such, his legacy ranges from simple portraits of the royal family to devilish portrayals of demons eating their young. His legacy also has inspired several operas, a piano suite, and a number of feature films. Goya | Define Goya at Dictionary.com Goya [goi-uh; Spanish gaw-yah] /ˈgɔɪ ə; Spanish ˈgɔ yɑ/ Spell 1. Francisco de [fran-sis-koh duh;; Spanish frahn-thees-kaw de,, -sees-] /frænˈsɪs koʊ də;; Spanish frɑnˈθis kɔ dɛ,, -ˈsis-/ (Show IPA), (Francisco José de Goya y Lucientes) 1746–1828, Spanish painter.

Dictionary.com Unabridged Examples from the Web for Goya Expand Contemporary Examples Chris Matthews on the Buckley Mystique Chris Matthews May 2, 2009 Historical Examples In the hall hung a fine beginning of a picture of the great Duke, painted by Goya at Madrid. Goya Fr. Crastre Goya was well aware of this, and he did not wait for the arrival of the alguazils. British Dictionary definitions for Goya Expand noun 1. Francisco de (franˈθisko de), full name Francisco José de Goya y Lucientes. 1746–1828, Spanish painter and etcher; well known for his portraits, he became court painter to Charles IV of Spain (1799). He recorded the French invasion of Spain in a series of etchings The Disasters of War (1810–14) and two paintings 2 May 1808 and 3 May 1808 (1814) Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd.

1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012 15 Things You Should Know About Goya's 'The Third of May 1808' | Mental Floss 15 Things You Should Know About Goya's 'The Third of May 1808' El Tres de Mayo, by Francisco de Goya Like us on Facebook Spanish Romantic Francisco Goya was the court artist to the Spanish crown through highs and lows. Yet it isn't portraits of royalty for which he is best remembered, but for his brutal and moving masterpiece The Third of May 1808. 1. The painting commemorates a dark moment in Spanish history. In 1807, Napoleon Bonaparte's forces crossed the Pyrenees into allied Spain under the pretext of invading Portugal. Once in place, the infamous French emperor began to take control of regions of Spain. When he realized what was happening, King Charles IV attempted to flee to South America.

But before he could, he was forced by angry citizens to abdicate in favor of his son, Ferdinand VII. Sensing an opportunity, Napoleon invited both Charles and Ferdinand to France. Fearing their leaders would be executed, the people of Spain rose up against the army, and were brutally suppressed. It is this suppression that is detailed in The Third of May 1808. Two days later, Napoleon forced both kings to abdicate in favor of himself, and would ultimately install his brother Joseph as Spain’s new monarch. Rather than being executed, Ferdinand VII was imprisoned for 6 years before he was allowed to reclaim Spain's throne. 2. The Third of May 1808 is known by several names. There are variant titles, including The Shootings of May 3, The Third of May 1808 in Madrid, or The Executions. Sometimes named for the location on which it is staged, the painting has also been called The Shootings on the Príncipe Pío Hill. Its grandest title is The Third of May, 1808: The Execution of the Defenders of Madrid. 3. It has a prequel companion piece.

Completed two months before its more iconic cousin, The Second of May 1808 depicts the actual day of revolt known as Dos de Mayo Uprising. While this work showed Spanish civilians in a moment of victory, The Third of May 1808 presented the French response the following day, when Napoleon's soldiers slaughtered hundreds of Spaniards in one cruel, dark night. 4. It can be read as an apology from Goya. During the tumultuous French occupation, Goya maintained his position as the court's painter, meaning he had to swear an oath of loyalty to usurper Joseph Bonaparte. When the French where finally expelled from Spain in February of 1814, Goya asked the nation's provisionary government to "perpetuate by means of his brush the most notable and heroic actions of our glorious insurrection against the Tyrant of Europe,” which led to the commission of this pair of paintings. 5. The Third of May 1808 received negative reviews. The daring artistic choices in the piece earned critics’ scorn. Goya broke from tradition by presenting his war heroes in a less than epic fashion, allowing the Spanish civilians to look like a bramble of humanity.

He also included blood, an unpopular device in history paintings of the 19th century. Others docked the piece for its flat perspective and unrealistic staging. 6. Christian iconography contributes to its emotional weight. While Goya rejected the tradition of making his subjects beautiful in their heroism, he embraced the chance to make them divine. Notice how the man at the painting’s center raises his hands in a pose similar to Jesus hanging from the cross. And if you look closely, you'll notice that like Jesus, this man has a wound on his right hand, reminiscent of stigmata. In this context, these Spanish rebels are presented as martyrs who died in love and service to their homeland. 7. The use of the lantern is subversive. Baroque artists famously used light to symbolize the divine, but in The Third of May 1808 , a radiant lantern is the tool that allows the French soldiers to carry out their bloody business before the sun comes up. 8. It's believed to be anti-war. The blood, the men weeping for their lives, and the soon-to-be shot figure with his arms outstretched all contribute to the notion that Goya wanted to present battle as horrible, not noble.

While respecting his fellow Spaniards who died in the effort to liberate the city, he makes war and its casualties look grotesque. The soldiers killing unarmed men are turned away so that the viewer cannot connect to them. War—according to Goya—is darkness. Or as 20th century art critic Robert Hughes wrote , "Most of the victims have faces. The killers do not. This is one of the most often-noted aspects of the Third of May, and rightly so: with this painting, the modern image of war as anonymous killing is born, and a long tradition of killing as ennobled spectacle comes to its overdue end." 9. It's bigger than you might think. The Third of May 1808 measures in at 8 feet, 9 inches by 11 feet, 4 inches. The Second of May 1808 matches its size. 10. Both pieces were damaged in another Spanish war. The damage didn’t happen during battle, either. In a bid to protect the paintings, The Second and The Third were being transported to Valencia and then ultimately to Geneva via truck during the Spanish Civil War (1936-1939), when a road accident wounded both works.

A keen eye can spot the damage on the lower left hand corner of The Third of May 1808. 11. This marked a turning point in Goya's style. The French occupation made a deep impact on the painter. While he'd supported the French Revolution, he was scarred by the horrors and subjugation he witnessed during the French occupation. While his works had previously shown an interest in social and political commentary (including his Caprichos series ), art historians have noted that his work grew darker in both color and content beginning with these paired rebellion paintings. 12. Nobody knows when the public first saw The Third of May 1808. Historians have found no references from 1814 that detail the painting’s debut. However, this gap in the historical record may have stemmed from Spain’s reigning king, Ferdinand VII, not being a fan of the work and its sentiment. The monarch had actually put a stop to plans to build a monument in commemoration of the uprising's fallen. 13. It has since found a proud home in Madrid.

Some historians speculate that the painting spent up to 30 years in royal hands (or royal storage), before being gifted to Madrid’s Museo del Prado sometime between its opening in 1819 and 1845, when art critic Théophile Gautier mentioned it being “relegated without honor to the antechamber” of the Prado. The first official record of the work in the museum's published catalog is dated 1872. But in 2009, Prado declared the painting one of the most important in its collection, leading to its posting on Google Earth with a resolution of 14,000 megapixels. 14. The Third of May 1808 inspired other acclaimed artists. Both Edouard Manet's Execution of Emperor Maximilian and Pablo Picasso's Massacre in Korea show influences from Goya's disturbing depiction of war. In 2006, this connection was celebrated with a special exhibition at the Prado. 15. It has become one of the most admired paintings of war.

Compared to Picasso's Guernica for its fearless depiction of the brutality of war, The Third of May 1808's estimation has only grown in the art world. Once sneered at for its departures from convention, today its blend of Christian iconography, its emotional chiaroscuro, and its influence on fine art and popular art have helped establish its reputation as a groundbreaking masterpiece. Or as art historian Kenneth Clark puts it , "[The Third of May 1808 is] the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention." More from mental_floss...

Question: What was the Christian name of the Spanish painter Goya?
Answer: FRANCISCO