FRANCISCO See also:

• GOYA

GOYA Y LUCIENTES (1746-1828)  , See also:

• SPANISH

Spanish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born iii 1746 at Fuendetodos, a small Aragonese See also:

• VILLAGE

village near See also:

• SARAGOSSA (Zaragoza)
• SARAGOSSA, COUNCILS OF (Concilia Caesarauguslana)

Saragossa . At an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age he commenced his See also:

• ARTISTIC

artistic career under the direction of Jose Luzan Martinez, who had studied See also:

• PAINTING

painting at See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples under Mastroleo . It is clear that the accuracy in See also:

• DRAWING

drawing Luzan is said to have acquired by diligent study of the best See also:

• ITALIAN

Italian masters did not much See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence his erratic See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil . See also:

• GOYA

Goya, a true son of his See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province, was bold, capricious, headstrong and obstinate . He took a prominent See also:

• PART

part on more than one occasion in those See also:

• RIVAL

rival religious processions at Saragossa which often ended in unseemly frays; and his See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends were led in consequence to despatch him in his nineteenth See also:

• YEAR

year to See also:

• MADRID

Madrid, where, See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

prior to his departure for See also:

• ROME
• ROME (Roma)

Rome, his mode of See also:

• LIFE

life appears to have been anything but that of a quiet orderly See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen . Being a See also:

• GOOD, JOHN MASON (1764-1827)

good musician, and gifted with a See also:

• VOICE (Fr. voix, from Lat. vox)

voice, he sallied forth nightly, serenading the caged beauties of the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital, with whom he seems to have been a very See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general favourite . Lacking the necessary royal patronage, and probably scandalizing by his mode of life the sedate See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court officials, he did not receive —perhaps did not seek—the usual honorarium accorded to those students who visited Rome for the purpose of study . Finding in convenient to retire for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time from Madrid, he decided to visit Rome at his own cost; and being without See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest urces he joined a " quadrilla " of See also:

• BULL
• BULL, GEORGE (1634–1710)
• BULL, JOHN (c. 1562–1628)
• BULL, OLE BORNEMANN (18ro-188o)

bull-fighters, passing from See also:

• TOWN

town to town until he reached the shores of the Mediterranean . We next hear of him reaching Rome, broken in See also:

• HEALTH

health and financially bankrupt . In 1772 he was awarded the second See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize in a competition initiated by the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of See also:

• PARMA

Parma, styling himself " pupil to Bayeu, painter to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king of See also:

• SPAIN
• SPAIN (Espana)

Spain." Compelled to quit Rome somewhat suddenly, he appears again in Madrid in 1775, the See also:

• HUSBAND

husband of Bayeu's daughter, and See also:

• FATHER

father of a son . About this time he appears to have visited his parents at Fuendetodos, no doubt noting much which later on he utilized in his genre See also:

• WORKS

works . On returning to Madrid he commenced painting canvases for the See also:

• TAPESTRY

tapestry factory of See also:

• SANTA

Santa See also:

• BARBARA, SAINT

Barbara, in which the king took much See also:

• INTEREST

interest .

Between 1776 and 178o he appears to have supplied See also:

• THIRTY

thirty examples, receiving about 1200 for them . Soon after the revolution of 1868, an See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official was appointed to take an See also:

• INVENTORY (post-class. Lat. inventarium, a list or repertory, from invenire to find)

inventory of all works of See also:

• ART

art belonging to the nation, and in one of the cellars of the Madrid See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace were discovered See also:

• FORTY

forty-three of these works of Goya on rolls forgotten and neglected (see Los Tapices de Goya; See also:

• POR

por Cruzado Villaamil, Madrid, 187o) . His originality and See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent were soon recognized by See also:

• MENGS, ANTONY RAPHAEL (1728-1779)

Mengs,the king's painter, and royal favour naturally followed . His career now becomes intimately connected with the court life of his time . He was commissioned by the king to See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design a See also:

• SERIES (a Latin word from serere, to join)

series of frescoes for the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of St See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony of See also:

• FLORIDA

Florida, Madrid, and he also produced works for Saragossa, See also:

• VALENCIA
• VALENCIA, or VALENTIA

Valencia and See also:

• TOLEDO
• TOLEDO, COUNCILS OF (Concilia toletana)

Toledo . Ecclesiastical art was not his forte, and although he cannot be said to have .failed in any of his See also:

• WORK

work, his fame was not enhanced by his religious subjects . In See also:

• PORTRAITURE

portraiture, without doubt, Goya excelled: his portraits are evidently life-like and unexaggerated, and he disdained flattery . He worked rapidly, and during his See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long stay at Madrid painted, amongst many others, the portraits of four sovereigns of Spain—See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles III. and IV., See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

Ferdinand VII. and " King See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph." The See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• WELLINGTON
• WELLINGTON, ARTHUR WELLESLEY, 1ST DUKE OF (1769-1852)

Wellington also sat to him; but on his making some remark which raised the artist's choler, Goya seized a See also:

• PLASTER

plaster See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast and hurled it at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the duke . There are extant two See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil sketches of Wellington, one in the See also:

• BRITISH

British Museum, the other in a private collection . One of his best portraits is that of the lovely Andalusian duchess of See also:

• ALVA
• ALVA, or ALBA, FERNANDO ALVAREZ DE TOLEDO, DUKE OF, (1508-1583)

Alva . He now became the spoiled See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child of See also:

• FORTUNE, ROBERT (1813-188o)

fortune, and acquired, at any See also:

• RATE

rate externally, much of the See also:

• POLISH

polish of court See also:

• MANNERS, CHARLES (1857– )

manners . He still worked industriously upon his own lines, and, while there is a stiffness almost ungainly in the pose of some of his portraits, the stern individuality is always preserved .

Including the designs for tapestry, Goya's genre works are numerous and varied, both in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and feeling, from his See also:

• WATTEAU, ANTOINE (1684-1721)

Watteau-like "Al See also:

• FRESCO (Ital. for cool, " fresh ")

Fresco Breakfast," "Romeria de See also:

• SAN

San Isidro," to the " See also:

• CURATE (from the Lat. curare, to take care of)

Curate feeding the See also:

• DEVIL (Gr. &a,3oXos, " slanderer," from &ctflisXX sty, to slander)

Devil's See also:

• LAMP (from Gr. Xag ras, a torch, Xaµaav, to shine)

Lamp," the " Meson del Gallo " and the painfully realistic See also:

• MASSACRE

massacre of the " Dos de See also:

• MAYO
• MAYO, RICHARD SOUTHWELL BOURKE, 6TH EARL OF (1822-1872)

Mayo " (18o8) . Goya's versatility is proverbial; in his hands the pencil, See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush and graver are equally powerful . Some of his See also:

• CRAYON (Fr. craie, chalk, from Lat. creta)

crayon sketches of scenes in the bull See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring are full of force and See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, slight but full of meaning . He was in his thirty-second year when he commenced his etchings from Velasquez, whose influence may, however, be traced in his work at an earlier date . A careful examination of some of the drawings made for these etchings indicates a steadiness of purpose not usually discovered in Goya's See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft as draughtsman . He is much more widely known by his etchings than his See also:

• OILS (adopted from the Fr. oile, mod. huile, Lat. oleum, olive oil)

oils; the latter necessarily must be sought in public and private collections, principally in Spain, while the former are known and prized in every capital of See also:

• EUROPE

Europe . The etched collections by which Goya is best known include " Los Caprichos," which have a satirical meaning known only to the few; they are bold, weird and full of force . "Los Proverbios" are also supposed to have some hidden intention . "Los Desastres de la Guerra " may fairly claim to depict Spain during the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French invasion . In the bull-fight series Goya is evidently at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home; he was a skilled See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the barbarous art, and no doubt every See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch is true to nature, and from life . Goya retired from Madrid, desiring probably during his latter years to See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape the trying See also:

• CLIMATE

climate of that capital . He died at See also:

• BORDEAUX

Bordeaux on the 16th of See also:

• APRIL

April 1828, and a See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument has been erected there over his remains .

From the deaths of Velasquez and See also:

• MURILLO, BARTOLOME ESTEBAN (1617-1682)

Murillo to the See also:

• ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent of See also:

• FORTUNY, MARIANO JOSE MARIA BERNARDO (1838-1874)

Fortuny, Goya's name is the only important one found in the See also:

• HISTORY

history of Spanish art . See also the lives by See also:

• PAUL
• PAUL (PAULUS)

Paul Lefort (1877), and Yriarte (1867) .