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The Incantation [1] (Spanish: El conjuro) is a painting by the Spanish artist Francisco Goya. It belongs to a series of six cabinet paintings, each approximately 43 × 30 cm, with witchcraft as the central theme.
The Incantation (Goya) The Witches' Kitchen; The Threshing Floor; Truth, Time and History; W. The Water Bearer (Goya) Witches' Sabbath (Goya, 1798) Y. Yard with Lunatics
Don Juan and the Commendatore [1] (Spanish: Don Juan y la estatua del Comendador or El burlador de Sevilla) is a painting by the Spanish artist Francisco Goya.It belongs to a series of six cabinet paintings, each approximately 43 × 30 cm, with witchcraft as the central theme.
Portrait of Goya by Vicente López Portaña, c. 1826. Museo del Prado, Madrid. Francisco José de Goya y Lucientes (1746–1828) was a Spanish artist, now viewed as one of the leaders of the artistic movement Romanticism. He produced around 700 paintings, 280 prints, and several thousand drawings.
Francisco de Goya was born in Fuendetodos, Aragón, Spain, on 30 March 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. The family had moved that year from the city of Zaragoza , but there is no record of why; likely, José was commissioned to work there. [ 4 ]
He speculates that Goya's son Javier may have created the paintings, and Javier's son Mariano passed them off as the work of Goya for financial gain. Junquera's theory was rejected by Goya scholar Nigel Glendinning , who published an academic study defending the paintings' authenticity and later held a lecture in Madrid restating his conviction.
Los Caprichos lack an organized and coherent structure, but they have important thematic nuclei. The most prevalent themes are: the superstition around witches, which predominates after Capricho No. 43 and that serves to express ideas about evil in a tragicomic way; the life and behavior of friars; erotic satire relating to prostitution and the role of the matchmaker; and to a lesser extent ...
The series was intended by Goya as a commercial venture but this was unsuccessful, partly because of Goya's expressive use of the form was radically different from the tidy appearance of most lithographs of the time. [2] A sense of Goya's working methods can be gained from Goya's companion and assistant in Bordeaux Antonio Brugada