Francisco Goya

Francisco Jose de Goya y Lucientes

In the midst of commencing political and aristocratic turmoil, was born one of the most talented and patriotically concerned artists Spain has ever seen. On March 30, 1746, one of Spain's most innovative painters and etchers was born. In the rural town of Fuendetodos, Francisco Jose de Goya y Lucientes was born. Francesco de Goya y Lucientes was the first modern artist and the last old master. He was born poor and at the fall of the Hapsburg Monarchy. Goya's grandfather was the son of a notary, or a minor lawyer, and his grandmother Dona Gracia Lucientes, was a Hidalgo. Hidalgos were the lowest order in Spanish nobility. His father was a painter and a gilder of altarpieces, and his mother was descended from a family of minor Aragonese nobility. Facts of Goya's childhood are scarce. Goya was still a boy when he and his family moved to the city of Saragossa.

Saragossa contained more life than the rural city of Fuendetodos. Here he began school, where he barely learned to read and write. After attending elementary school, Francisco went to a Jesuit school. It was here where the foundation of his career was laid. It was recommended that he develop his natural skills in drawing. A local master painter, named Jose Luzan y Martinez, took Goya under his wing. Martinez was a typical third rank painter of that time, but was well respected in the city. Goya began learning to paint the human figure by copying sculptures and molds. The drawing of naked models was forbidden at that time. However, by this point Goya showed himself as a fine copyist, and was able to adapt quickly to other peoples' styles. Goya's first commission was the painting of the church doors at Fuendentodos. This project confirmed his profession.

At age 17, Goya went to test himself in the larger and more demanding area of Madrid. In 1763, the young artist went to Madrid, where he hoped to win a prize at the Academy of San Fernando. Although he did not win the desired award, he did make the acquaintance of Francisco Bayeu. He was an artist, also from Aragon, who was working at the court in the academic manner imported to Spain by the German painter Anton Raphael Mengs. Bayeu was the brother of Goya's wife. He was influential in forming Goya's early style and was responsible for his participation in an important commission, the fresco decoration of the Church of the Virgin in El Pilar in Saragossa.

Possibly, Goya's "claim to fame" was being part of the triumvirate--including El Greco and Diego Velazquez--two great Spanish masters. Much in the art of Goya is derived from that of Velazquez. Velazquez was a painter of Spain's pride and power -a superb realist. Although Velazquez had an influence on Goya's artistic style, his art is distinctly different from that of his predecessor. Velazquez's paintings depicted absolute and precise figures. Most of Goya's work, other than portraits, was noticeably distorted. These were times of confusion and despair, which would serve as artistic topics for Goya's work. The other half of his work is strictly his reaction and response surrounding occurrences. Perhaps nobody depicted mortals' thoughts and actions better than Goya. He combined his personal thoughts and the thoughts of the character in the painting so they either contrasted or became one. Goya used this devise of altering human characteristics as a way to undermine politicians and aristocrats without confrontation. A prime example of this is in the portrait of the family of Charles the IV. Charles IV was a Bourbon King who was later deposed by Napoleon. This portrait is at the pivotal point of Goya's career. The public Goya and the private Goya, usually rigidly separated were briefly allowed to merge. As Goya was at the center of the social scene by this point, he was very aware of the history, people and events of his time.

Thus, in this portrait, he depicts the characters and family members as he sees them, weak, sheltered, and cocky. The clothing and costumes on the people describe their rank in society; however, their faces portray a lack of power and character. In addition, these depictions went unnoticed, and while Goya never painted for the King and Queen again, it was not because they were dissatisfied. He got away with it and went on to fulfill other artistic desires. What is extraordinary about this portrait is that it borders a thin line between levels of understanding. Goya found a median at which he could satisfy someone's expectations while fulfilling his own artistic thoughts. At first glance or even scrupulous examination, someone who is ignorant of the techniques being used sees only a picture of a royal portrait.

Moreover, Goya's talent was not confined to one particular style. Thus, a somewhat different style and theme is showed in The Shooting on Principe Pio Mountain. A more free brush technique is used here and the faces and figures in the picture are more abstract, less detailed. The shooters are anonymous and they doggedly obey orders by killing the suspects lined up in front of them. In the center of the painting is a Spanish commoner who has his arms raised and his face is that of despair, horror, and hopelessness. This event (one of many that were similar) was a significant moment in Spanish history. French firing squads patrolled through Spain as guerrillas (little wars) broke out over the land. Goya painted the picture six years later, and had mixed feelings about it. His love for Spain is shown in all of his work; however, he was an admirer of the French Enlightenment. This painting shows a difference and gradual change in Goya's style. The brush strokes are much scratchier than and not as delicate as previous works. It was possibly painted with more passion and thus the reason for the more symbolic tone and not realistic. Goya could be considered one of the most talented artists of his time and without question, he is. However, what is to be merited is influence and understanding of