Name: 18th Century Oil Painting Entitled Conquistadors After Battle
Brand: Francisco Goya
Rating: 5 (4 reviews)

18th Century Oil Painting Entitled Conquistadors After Battle

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About the Item

18th Century Oil Painting attributed to the workshop of Francisco Goya Entitled Conquistadors After Battle Oil on Wood Panel Reflects Very Similar Romantic Style of Goya Housed in gilded gesso frame Condition Report: Repair to crack in panel has been over-cleaned, scattered flecking and inpaint; Frame has chips. Francisco de Goya y Lucientes was born on March 30, 1746, in Fuendetodos, a village in northern Spain. The family later moved to Saragossa, where Goya’s father worked as a gilder. At about 14 young Goya was apprenticed to Jose Luzan, a local painter. Later he went to Italy to continue his study of art. On returning to Saragossa in 1771, he painted frescoes for the local cathedral. These works, done in the decorative rococo tradition, established Goya’s artistic reputation. In 1773 he married Josefa Bayeu, sister of Saragossa artist Francisco Bayeu. The couple had many children, but only one–a son, Xavier–survived to adulthood. From 1775 to 1792 Goya painted cartoons (designs) for the royal tapestry factory in Madrid. This was the most important period in his artistic development. As a tapestry designer, Goya did his first genre paintings, or scenes from everyday life. The experience helped him become a keen observer of human behavior. He was also influenced by neoclassicism, which was gaining favor over the rococo style. Finally, his study of the works of Velazquez in the royal collection resulted in a looser, more spontaneous painting technique. At the same time, Goya achieved his first popular success. He became established as a portrait painter to the Spanish aristocracy. He was elected to the Royal Academy of San Fernando in 1780, named painter to the king in 1786, and made a court painter in 1789. A serious illness in 1792 left Goya permanently deaf. Isolated from others by his deafness, he became increasingly occupied with the fantasies and inventions of his imagination and with critical and satirical observations of mankind. He evolved a bold, free new style close to caricature. In 1799 he published the Caprichos, a series of etchings satirizing human folly and weakness. His portraits became penetrating characterizations, revealing their subjects as Goya saw them. In his religious frescoes he employed a broad, free style and an earthy realism unprecedented in religious art. Goya served as director of painting at the Royal Academy from 1795 to 1797 and was appointed first Spanish court painter in 1799. During the Napoleonic invasion and the Spanish war of independence from 1808 to 1814, Goya served as court painter to the French. He expressed his horror of armed conflict in The Disasters of War, a series of starkly realistic etchings on the atrocities of war. They were not published until 1863, long after Goya’s death. Upon the restoration of the Spanish monarchy, Goya was pardoned for serving the French, but his work was not favored by the new king. He was called before the Inquisition to explain his earlier portrait of The Naked Maja, one of the few nudes in Spanish art at that time. In 1816 he published his etchings on bullfighting, called the Tauromaquia. From 1819 to 1824 Goya lived in seclusion in a house outside Madrid. Free from court restrictions, he adopted an increasingly personal style. In the Black Paintings, executed on the walls of his house, Goya gave expression to his darkest visions. A similar nightmarish quality haunts the satirical Disparates, a series of etchings also called Proverbios. In 1824, after the failure of an attempt to restore liberal government, Goya went into voluntary exile in France. He settled in Bordeaux, continuing to work until his death there on April 16, 1828. Today many of his best paintings hang in Madrid’s Prado art museum. (From WebMuseum) Goya’s oeuvre represents a unique marriage of tradition and modernity. As an Old Master, he honored the works of his predecessors like Velázquez and Rembrandt, working in a traditional manner as seen in his many court portraits. At the same time, his bold departure from the artistic conventions of his day earns him a place as one of the first Modern Western painters. For instance, his use of social satire finds its legacy in the works of James Ensor, who likewise pilloried the duped masses and corrupt leaders of his day, while the qualities of shock and horror – seen in his more dark or violent works – find a thread in contemporary art’s concern for the abject and psychologically disturbed, from Damien Hirst to Paul McCarthy. Goya’s use of broad, visible brushstrokes paved the way for Impressionism’s spontaneous style, as did the quintessentially Spanish subject matter of his art. Édouard Manet‘s Olympia was influenced by Goya’s Nude Maja, and was equally bold, if not bolder, in its radical reinvention of the classical nude as a modern-day prostitute. Meanwhile his fragmentary painting of The Execution of Emperor Maximilian, directly references Goya’s The Third of May, 1808 in both its expression of moral outrage and its formal composition, though Manet’s sympathies lay on the side of the Mexican executioners, not the murdered Emperor. Goya’s politically engaged, highly subjective, and imaginative art presented a significant step towards modernism. In his prints especially, Goya critiqued the events of his day including war, corruption, social ills, and ingrained superstitions. This would later inspire artists like his fellow Spaniard Picasso, whose seminal Guernica also raged against contemporary injustices, in this case the Fascist bombing of a Spanish village in WWII. Goya’s far-reaching legacy extends to Surrealism, as artists looked to Goya’s etchings and Black Paintings for their dark and dreamlike subject matter. Salvador Dali created his own version of the Caprichos in 1973, and more recently, in 2014, the contemporary artist Emily Lombardo did likewise, reimagining the Caprichos in the framework of twentieth-first-century life. Both Dali’s Surrealist interpretation and Lombardo’s queer feminist one signal the enduring, universal, and ultimately malleable significance of Goya’s prints. The British twins Jake and Dinos Chapman also looked to Goya for inspiration, most notably in their disturbingly grotesque sculptures derived from The Disasters of War.

Creator:
Francisco Goya (1746 - 1928, Spanish)
Dimensions:
Height: 22.5 in (57.15 cm)Width: 27.5 in (69.85 cm)Depth: 1 in (2.54 cm)
Period:
18th Century
Condition:
Gallery Location:
Gallatin, TN
Reference Number:
1stDibs: LU57331869293

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