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    Goya " Los Caprichos "

     

    Spanish: Al Conde Palatino 

    English: To the Count Palatine 

    In all sciences there are people who know everything without 

    Having learned and have a ready remedy for all ills.

    One can't believe what they say.

    The really intelligent person mistrusts them. 

    The educated person makes moderate promises and keeps much in reserve.

    The Count Palatine never keeps any promisses at all.

     

     

     

    MMaxi12


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     Goya " The Capriccios "

     

    Spanish: Por que fue sensible 

    English: She Was So Easily Influenced

    This was to be expected. The world has its ups and downs 

    and the life she led has no other end.

     

     

     

     

    MMaxi12

     


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    Goya Los Caprichos 

    Spanish: Ruega por ella 

    English: She Prays for Her 

    And she did well to do so ... that God may give her luck, keep her from harm, moneylenders, and cops ...

    Make her skilful and carefull, wide-awake, and ready as her sainted mother.

     

     

     

     

    MMaxi12


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    Goya Capriccios 

    Spanish: Porque Esconderlos?

    English: Why Hide the Money?

    The answer is easy. He won't spend it; He doesn't spend it;  

    he can't spend it. Although he is over eighty and as barely another month to live,

    he is afraid that he might have no more left if he lives longer.

    Such are the mistakes of Greed.

     

     

     

    MMaxi12


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    It was in the year 1795 that the name Alba first appears in Goya's life.

     

    The Duchess of Alba, 1795 

    Oil on canvas, PC, Madrid 

    On the 9th of june 1796 the Duke of Alba died in Seville and the Duchess spent her period of mourning on her country estate at Sanlùcar de Barrameda, in the province of Seville.

    Various evidence indicates that Goya made a prolonged stay there at this time.

    There are also two albums of drawings connected with this stay on the Alba estate.

    They certainly contain some sketches of the Duchess and various members of her little country court.

    Some of these Sketches were to basic elements for the composition of the Caprichos.

    It was, in fact, just after this stay at Sanlùcar that Goya began to work actively on this series of etchings, which was finally published in 1799.

     

    The Duchess of Alba, 1797 

    Oil on canvas  

     


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    The Countess del Carpio, *Marchioness of Solana 1794-1795 

    Oil on Canvas 

    Musée Du Louvre, Paris 

     

    *marchioness |ˈmär sh (ə)nəs|nounthe wife or widow of a marquess.• a woman holding the rank of marquess in her own right.ORIGIN late 16th cent.: from medieval Latin marchionissa, feminine of marchio(n-) ‘ruler of a border territory,’ from marcha ‘march’

     


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    The Duchess of Osuna Oil on canvas in Private Collection 

    The oil painting of the Duchess of Osuna, the beautiful quality of the portrait of the Duchess, with the rich harmony of it's colours, could deservedly take its place among the most outstanding of Goya's female Portraits, Which as a series constitute one of the artist's finest achievements. It seems in this case that the Duchess's captivating personality, clearly described in contemporary accounts,Succeeded in breaking down the barrier of inhibitions that seem to have hampered the painter's natural spontaneity when confronted with sitters of high station.

     

     

     


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    The Parasol, certainly one of the most popular paintings in Spanish Art, which was to make so widespread an impression,

    demonstrate Goya's ability in the face of artistic concepts and conditions that must have incited his innate nonconformity.

    Part of the Tapestry cartoons.

    Oil on canvas.

     


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    Francisco Goya born 30th March 1746 in Fuendetodos 

    Leocadia Zorrilla (formely known as Josefa Bayeu ), ca 1814 

     

     

     


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    Goya 1746-1828

     

    The remarkable Self-Portrait illustrates the painter's mastery at the age of about twenty-seven.

    A number of versions of the painting exist.

    It is the first of a series of self-portraits that continues throughout his career, recording truthfully and impassively the gradual transformation of his physiognomy.

    The portrait is charged with energy and indicates an early physical maturity.

    The occasion for this portrait was probably Goya's marriage to Francisco Bayeu's sister, Josefa.

    The marriage took place in Madrid on 25th july 1773.

     

      


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