4. Goya
Kenneth G. Hay
Professor Emeritus of Contemporary Art Practice, The University of Leeds,
UK

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“”Self Portrait” (c. 1780)
Oil on canvas, 59.6 x 44.6 cm
Museo Goya, Zaragoza.
• This first self portrait was probably painted in his 30s: an honest portrait but without the
penetrating gaze of his later work.
• Probably inspired by Anton Raphael Meng’s self portraits, which he would have known in the
collection of Bernardo de Iriarte (1735-1814)
• Painted about the same time as the life-size “Christ on the Cross” (Prado, Madrid) which gained
him entry into the Academia de Bellas Artes and started his official carreer.

•3
The Sunshade, 1777,
Prado, Madrid
•Tapestry Cartoon, oil on canvas104 x 152 cm.
•Maria Luisa, Charles’s wife, wanted cheerful scenes for the tapestries in her dining room.
•Goya responded with this picture of an elegant young lady with her lapdog shaded by a green
parasol held over her by her companion.
•The costume reflects the latest French and Spanish fashions.
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•4
The Quail Shoot, 1775,
Prado, Madrid
•Oil on canvas, 290 x 226
•
•The commission to design tapestries for royal palaces enabled Goya to move to the capital. It was
not a highly regarded occupation.
•
•The first series shows hunting scenes, conducive to the interests of the heir to the throne,
Charles IV.
•The action is arranged in two layers, front and back with the further figures slightly less
defined.
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“The Injured Mason”, (1786-87)
Oil on Canvas, 268 x 110 cm
Madrid, Museo del Prado
• In place of games, picnics and distractions, Goya here offers the Spanish Court a more realistic
insight into the lives of the lower classes.
• A labourer has fallen off some scaffolding and is being carried away by two colleagues, their
clothes shabby and torn.
• Goya’s humanism and empathy for ordinary working people are evident in this painting, even the
choice of subject matter has no precedent.

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“The Wedding”. 1791-92, Oil on Canvas, 267 x 293 cm Madrid, Prado

In his later tapestry designs, Goya shows himself unafraid to introduce satire and criticism of the
society of the day. With the blessing of their families and the Church, an ugly, rich groom is
marrying a pretty young bride.

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“Winter”, (1786-87), Prado, Madrid.

Oil on canvas, 275 x 293 cms, Tapestry cartoon.
From the middle of the 1780s Goya no longer confined himself to portraying pleasurable subjects. He
showed how harsh the winter can be for Spain’s peasants.
Perhaps he is trying to remind the central Court of the real conditions of its remote subjects.

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The Straw Mannequin (1791-2)
Prado, Madrid.
• Oil on Canvas 267 x 160 cms; Tapestry cartoon.
•
• The artist’s eye grows ever more critical. Here, a light-hearted carnival tradition assumes a
cruel dimension, in a scene which depicts what strong women can do with a weak man, who is tossed
about helplessly at their pleasure. In earlier drawings, the mannequin’s head is upright, but this
suggested it was enjoying the sensation of flying. In the final version, the head is twisted round,
as if to emphasize the discomfort at its fate.

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The Duke of Osuna (1795-8)
Oil on Canvas, 113 x 83.2
Frick Collection NY
• The 9th Duke (1755-1807) was a kindly man, well disposed to the arts and sciences. Both he and
his wife, the Duchess of Benavente (1752-1834) were amongst the most distinguished and enlightened
couples of the time  and Goya’s most generous patrons, commissioning over 30 paintings from him
between 1785 and 99.
• This, Goya’s second portrait of him, shows him relaxed, holding a letter and perhaps
contemplating its contents.
• The handling is fresh and gestural, with flecks of paint for buttons and coat and quick touches
of red and pink for his ruddy complexion.
• The Duke believed in the wide dissemmination of knowledge and culture and wished to leave his
library to the State - it was, however, refused because it contained some ‘prohibited’ books.

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Gaspar Melchior de Jovellanos
(1798), Oil on canvas, 205 x 133 cm, Prado, Madrid
• The portrait is the fruit of a long friendship. Goya recounted the kindness of Jovellanos, then
Minister in the Spanish Court, in permitting him to keep his coat on during dinner and
communicating in sign language after the illness which caused Goya’s deafness.
• Goya mixes Meng’s ‘gravitas’ with the flickering touch of Velaszquez, in a pose which personifies
the ‘vita contemplativa’ both thoughtful and melancholic, in one of the sumptuous rooms of the
Aranjuez Palace.
• The paper is inscribed: ‘Jovellanos por Goya’. In the background, for inspiration is a statue of
Minerva, Goddess of Wisdom, Sciences, Arts & Industry, her hand extended as if to protect him.
• The pose is taken from Dürer’s engraving of ‘Melancholia 1’ (1514) and Goya’s earlier
frontispiece to Queveda’s “Sueños” (1797).
A poem by Manuel José Quintana and Meléndez ‘A Jovino (Jovellano’s pen name); “el Melancólico”
alludes to an atmosphere of night and sadness not unlike the nocturnal setting of Goya’s portrait.

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“Francisco Bayeu” (1795)
Oil on Canvas, 112 x 84 cm, Prado, Madrid
Goya’s brother-in-law, painted after his death from a self-portrait. Goya leaves out much of the
detail and poses Bayeu against a neutral background in a more relaxed pose.
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Whereas in the original, the artist, seated against a large canvas in progress holds palette,
brushes and rule, in Goya, a single paintbrush is all that is required to signify his profession.
Goya’s handling is light and flickering, imbuing the rather dry original with sparkle and life.

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Charles III in Hunting Dress (1786-8)
Oil on Canvas, 210 x 127 cm
Collection of the Duchess of Arco
• Charles III was passionate about hunting, and according to his biographer, Count Fernán Nuñez,
went out hunting between lunch and sundown almost every day.
• Goya has included hunting still life details: in his left hand he proudly holds his large gun,
and at his feet sleeps his trusty hunting dog.
• The image was based on an official likeness by Mengs, not drawn from life.
• What differentiates Goya’s portrait is the sense of human character which the face and posture
express. The Monarch is presented in familiar hunting gear, as if he has just returned from the
field. His posture and expression are relaxed and happy - we would not necessarily know he was a
monarch just from observation - only the military insignia of the Order of San Gennaro and the
Golden Fleece, and the medal on his chest allude to his social standing.
A later engraving of Goya’s portrait, commissioned by Nuñez, carried the motto: “First Charles,
then King” and then “Father, Brother and Friend of his People.”

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The Family of Charles IV,  1800-01, Madrid, Prado
1789 marked the French Revolution and the brutal end to the French aristocracy, including the King
and Queen, many of whom were related to the Spanish aristocracy. Following the initial phase,
Napoleon established a second monarchy, but the aftermath was turbulent and brought in years of
turmoil
Oil on Canvas, 280 x 336 cm
A vision of the Royal Family seen through the eyes of an ordinary citizen.
Goya has certainly not flattered his models here. The royal clan are depicted as they are, some
seem confused, some haughty, some a little crazy.  They hold on to what they have, puzzled by the
changing political climate, and unable to prevent the onward march of history. The last days of the
fading Rococo, giving way to the harsher realism of citizen’s democracy..
The gap in age between the King and Queen is notable. She was 48 and had borne 10 or 12 children,
yet she wears a cupids dart in her hair, in the latest French fashion.  Rumours circulated by her
rivals suggested that the boy between them was the son of Goday, his first minister and his wife’s
lover. A painting in the background, of “Lot and his Daughters” suggests woman following their
unbridled desires…Is this a coincidence?
The artist poses himself in the background, no longer the humble servant, more the confident
individual with his own world-view.

•14
The Family of Charles IV,
Madrid, Prado (1800-1801)
•Oil on Canvas, 280 x 336 cm
•A vision of the Royal Family seen through the eyes of an ordinary citizen.
•Goya has certainly not flattered his models here. The royal clan are depicted as they are, some
seem confused, some haughty, some a little crazy.  They hold on to what they have, puzzled by the
changing political climate, and unable to prevent the onward march of history. The last days of the
fading Rococo, giving way to the harsher realism of citizen’s democracy..
•The gap in age between the King and Queen is notable. She was 48 and had borne 10 or 12 children,
yet she wears a cupid’s dart in her hair, in the latest French fashion.  Rumours circulated by her
rivals suggested that the boy between them was the son of Goday, his first minister and his wife’s
lover. A painting in the background, of “Lot and his Daughters” suggests woman following their
unbridled desires…Is this a coincidence?
•The artist poses himself in the background, no longer the humble servant, more the confident
individual with his own world-view.
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Chinchon.jpg 0340BBE7 Ken's G5HD_01 BC85B848:
The Countess of Chinchón (1800)
Prado, Madrid,
Oil on Canvas, 216 x 144 cm
Goya’s portrait of the 19-year old Countess, María Teresa de Borbón y Vallabriga (1779-1828),  is
one of his most touching and delicate portraits. (He had also painted her in her infancy). She is
depicted on a gilded armchair in a darkened room. Her white silk and gauze dress positively glows
in the darkness, and her eyes are shyly adverted. Her hair is adorned with sprigs of wheat, symbol
of fertility - in fact she was in the early stages of her third pregnancy, after two miscarriages,
by her husband Godoy (Don Manuel Francisco Domingo de Goday, Duke of Alcusia). The marriage had
been arranged, possibly by Queen Maria Luisa to separate Goday from his new lover, Josefa (Pepita)
Tudó.
Her pensive countenance and the darkness from which it emerges makes this one of Goya’s most
penetratingly psychological portraits. Shortly after the portrait, Godoy bought Goya’s house and
moved in Josefa, whom he eventually married in 1828 after the death of María Teresa.

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Don Manuel Francisco Domingo de Goday, Duke of Alcudia (1801)

Oil on Canvas, 180 x 267 cm
Museo de la real Academia de Bellas Artes de San Fernando, Madrid
Godoy was at the peak of his power when he sat for Goya’s large semi-allegorical portrait. The
flamboyant Captain General reclines at ease on what appears to be a commodious rock, but has been
identified as a field commander’s chair, at the forefront of a bustling battle. Behind him, an aide
is in attendance while cavalry soldiers and horses fill the background. Two flags refer to the
eleven captured in the brief ‘War of the Oranges” in Portugal, which Godoy had sent to the King in
victory. The King in turn returned two with a letter of appreciation (seen in his hand here).
Although he was eventually granted supreme command of the Army and Navy, he lacked to official
insignia at the time of the portrait. Between 1801 and 1808, there was a time of great political
instability, and Goya received very few Royal commissions until the accession of Ferdinand VII
(sworn enemy of Godoy)

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Charles IV in Court Dress (1799) Oil on Canvas, 202 x 126 cm, Collecionnes Reales, Palacio Real de
Madrid
Maria Luisa in Court Dress (1800) Oil on Canvas, 210 x 130 cm, Collecionnes Reales, Palacio Real de
Madrid
Probably at Godoy’s instigation, Goya was commissioned to paint two full length portraits of the
Monarchs in Court Dress.The King as Colonel of the Royal Guards with medals and sashes, and the
Queen in ceremonial dress of elegant French fashion,  with a blue and yellow turban, topped with a
plume.She wears the sash of her personal ‘Order of Noble Ladies’ and the “Starry Cross” of ladies
of high birth.
Both stand as if waiting to greet incoming guests to the Palace.  The rising tensions between Spain
and post-revolutionary France forms the historic backdrop to the portraits: Napoleon sent gifts of
hunting guns and pistols to the King, Parisian dresses to the Queen and a suit of armour to Goday
in return for their support.

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“Juan de Villanueva” (1800-5)
Museo de la Real Academia de Belles Artes de San Fernando,
oil on poplar, 90 x 67 cm
• An architect friend of Goya’s, and exponent of the Neoclassical style, painted probably as an act
of friendship. His most celebrated building was the Museum of Natural History which now houses the
Prado, and for small exquisite palaces in the country for Charles IV as Prince of Asturias in the
1770s and 80s.
• Villanueva wears the uniform of the Honorary Provincial Mayor awarded to him by Chales IV in
1802. The painting was later transferred to the Academia di San Fernando of which Villanueva was
Directo General (1792-95) during Goya’s illness and long absence from Madrid.
• The surface is smooth, but the brushwork animated and expresses something of the exploratory free
spirit of the sitter.

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Fernando VII in Court Dress (1814-5)
Oil on Canvas, 208 x 142.5 cm
Prado Madrid
Painted as part of his duties to the Court, the portrait is remarkable in several ways.
Ferdinand is wearing full regalia, gripping the sceptre, symbol of sovereignty, just recently
wrested from his father, and then handed to Napoleon, now once more regained thanks to Wellington’s
successful expulsion of the French from Spain. Having just overthrown the Constitution, he now
grasps power literally and figuratively, with a tight fist. His black hair frames his face, with
bulbous nose and jutting chin, apparently facing the viewer (with regard to his legs and torso) but
twisted with regard to his face. Goya suggests a disturbingly ‘twisted’ individual. The Order of
the Golden Fleece hangs awkwardly around his neck and shoulders.

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“The Sleep of Reason Produces Monsters” (Capricho 34) (1797-98)
• Etching & aquatint, 21.6 x 15.2 cm
• The etching of the sleeping artist, threatened by fantastical faces, was originally intended to
open the ‘Caprichos’ cycle.
• The ‘reason’ is also the world of logic and rationality which is ever threatened by breakdown,
by madness of irrationality. The dangers unleashed by the French Revolution will sweep across
Europe, changing all that was known before into something as yet uncertain.

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“They Carry Her Off”
(Capricho 8)
(1797-98),
Etching and Aquatint 21.7 x 15.2 cm
One of the captors at least is a a hooded priest..
What do they want from this poor woman, in the dead of night…?

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“As far back as his grandfather”
(Capricho 39)
(1797-98)
Aquatint, 21.5 x 15 cm
The Donkey proudly displays his family tree - All of his ancestors were Donkeys..
So it is with all the fools of the world…

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Francisca Saba y Garcia, (1804-8) National Gallery, Washington
• Oil on Canvas, 71 x 58 cms
•
• The subject is about 20 years old and is profiting from the emancipation of women cautiously
proceeding in Goya’s day. Her face is no longer concealed by a veil, and she looks out
self-confidently at the viewer.
•
• Goya records the changing attitudes to women in contemporary Spain, following the expulsion of
the Moors 300 years before, and increasing pressures from the Enlightenment. Goya depicts
independent, sometimes duplicitous, career-oriented, successful women, not just passive subjects.
The term in Spanish for this new found confidence is ‘marcialidad’ (militancy)

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The Duchess of Alba, (1795)
Oil on Canvas 210.2 x 149.3 cm
The Hispanic Society of America, NY
• Widowed in 1796, the Duchess of Alba became Goya’s companion until about 1800. He made several
drawings of her, including paintings which depict her wearing a ring with Goya’s name on it, and
pointing to the ground on which is written “Only Goya”.
• She appears in several of the ‘Caprichos’ later, following their separation, by which Goya seems
to have been badly affected.

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•26
The Colossus, 1808-12,
Prado, Madrid
•Oil on Canvas, 116 x 105 cm
•Napoleon’s troops occupied Spain. The colossal figure rises above the Spanish landscape, before
whom people and animals flee in panic.
•The figure probably represents a personification of the horror and chaos of war, whether it be the
Napoleonic invasion, the murderous guerilla war or a generalised metaphysical threat.
•
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“The Second of May 1808,” (1814), Oil on Canvas, 266 x 345 cms Prado, Madrid

On 2 May 1808 there was a skirmish in Madrid. A French soldier was pulled off his horse and almost
lynched.
General Murat announced: “French blood has flowed. It demands vengeance.” Mamelukes of the Imperial
Guard are attacking furiously, and the Spanish are defending themselves with knives. It is not
clear who is the victor.

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“The Third of May 1808,” (1814), Oil on Canvas, 266 x 345 cms, Prado, Madrid

On 3 May, some 400 Spaniards, arrested the day before, were executed by French firing squads. The
massacre sparked off nationwide uprising.
Goya’s dramatic picture sets a new standard for politically engaged painting. Painting not only
records and depicts historical events, but is able, through its expression and technique, to
dramatise and heighten the emotional impact of an event.  It is the first truly modern ‘protest
painting’ whose successors will include Picasso’s “Guernica” in the 20th-century.

•29
The Young Ones, 1812-14,
Lille, Palais des Beaux Arts
•Oil on Canvas, 181 x 122 cm
•In the earlier Tapestry cartoon with the Green Parasol, Goya depicts a fashionable lady with her
maidservant and little dog.
•Here, a similar subject is depicted but with the addition of the common people, washerwomen, in
the background.
•Goya is aware of the gap between rich and poor in contemporary Spain, and contrasts the two as a
contradiction, side by side. The figures in the foreground are unaware of the women from the poorer
classes labouring in the background.
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•30
‘The Old Ones’, 1810-12,
Lille, Palais des Beaux Arts
•Oil on Canvas, 181 x 125 cm
•Chronos, the God of Time, spreads his wings behind the two old hags, who remain unaware.  With
their faces made up and dressed in their finery (one of them wears her hair with a love dart in it,
just as Queen Maria Luis had done), the other’s skull is appearing through her ruined face. They
are still asking the mirror, “Que tal?” - how are you? (Who is the fairest?).
•In both pictures, the aristocracy whether old or young, are depicted as out of touch with the
ordinary people, and with the events which are going to destroy their world forever.
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•31
The Disasters of War
•‘This is Worse” (plate 37) 1812-15, Etching & wash, 15.7 x 20.7 cm
•
•
•‘What more can one do?’ (Plate 33), 1812-15, Etching & wash, 15.8 x 20.8 cm
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Witches in the Air, (1797-8)
Prado, Madrid
• Oil on Canvas, 43.5 x 31.5 cm
•
• Commissioned by the Duchess of Osuna, along with five other such scenes, for her own pleasure.
The Duchess was highly intelligent and educated, and probably enjoyed the frisson of terror these
macabre scenes portray.
• Witches are sucking the blood out of somebody dead or dying. The man with the cloth over his head
is making a sign to try and ward off evil spirits.

•33
The Burial of the Sardine, 1812-19,
Museo de la Real Academia de San Fernando, Madrid
•Oil on panel, 82.5 x 52 cm.
•The carnival celebrations in Madrid culminated on Ash Wednesday in a procession with dancing and
masks. A heathen spring festival and a parody of religious processions. Goya suggests demonic
forces behind the masks and costumes, as if the forces of chaos were lurking just below the level
of appearances.
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•34
Goya And his Doctor Arieta, (1820)
Minnesota Institute of the Arts Minneapolis, Oil on Canvas, 117 x 79 cm
•
•Goya suffered a serious illness in  in 1820. After his recovery, he painted himself as a reluctant
patient in the trusty hands of his doctor, Arieta, who is carefully, but forcefully administering
some medicine to him. The painting is a personal record of their friendship.
•
•Goya’s face is grey like his coat, and the doctor brings an element of red, echoed in the bedcover
and his own face, to his complexion.
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•35
Duel with Cudgels, 1820-23,
Prado, Madrid
•Oil on Canvas, 123 x 266 cm.
•Two men are battling with cudgels. Both are knee-deep in sand so that neither can get away and
there is no certainty that even the winner will be able to extricate himself. There are no
witnesses to the scene.
•Pointless brutality in a barren landscape. The stupidity of humans, endlessly repeated..
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•36
The Dog, 1820-1823,
Prado, Madrid
•Oil on Canvas,  134 x 80 cm
•
•The dog’s head occupies a tiny proportion of the whole canvas. The rest is devoid of objects.
•Never before has an artist exercised such radical freedom, or such radical renunciation to express
solitude.
•A truly modern painting, which presages, as does the ‘Duel with Cudgels’, some of the existential
work of Beckett, Giacometti and Francis Bacon in the 20th-century.
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"Saturn Devouring his Children", (1819-23) (Fresco transferred to Canvas, 146 x 83 cms, Museo del
Prado , Madrid .
• This, one of Goya's so called "Black Paintings", is as unflinching as Géricault, in its depiction
of madness and terror. It was painted on the walls of the artist's retreat (the 'Quinta del Sordo')
in Goya's last period, along with 35 other equally dark and tormented themes, exploring
hallucination, despair, nihilism and the darkest and wildest obsessions of the troubled mind.
Saturn, fearing that his own sons are going to destroy him, devours them first.
• Goya omits all reference to the Classical myth, and depicts the god as a humanoid monster feeding
in a frenzy on a corpse. An image of startling brutality and horror.
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The Procession of San Isidore, (1820-23), Prado, Madrid. Oil on Canvas, 140 x 438 cm, Detail


•39
The Procession of San Isidore, 1820-23,
Prado, Madrid
•Oil on Canvas, 140 x 438 cm, Detail
•One of the “Black Paintings”
•In his youth, Goya depicted the Feast of St Isidore as a colourful pageant, suitable for tapestry
cartoons.
•Here it becomes a nightmare procession of crazed and ecstatic crowds, sweeping over the hillsides
with an elemental energy.
•The brushstrokes are loose and violent. Faces are captured in a few wild brushstrokes.
•Colour has almost vanished in the darkness, with only the contorted faces and the white shirts
catching the light
•Goya depicts the irrational hysteria of the crowd.
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“Nada!, The Event will Tell” (1812-20) Disasters of War Plate 69 Etching & Aquatint 15.5 x 20 cm


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“The Duke of Wellington” (1812-14)
Oil on mahogany, 64.3 x 52.4 cm
National Gallery London.
• Probably painted directly in the Duke’s own quarters and worked up from sketches, (below) for
use in the large equestrian portrait of the Duke exhibited in the Royal Academy to mark
Wellington’s triumphant entry into Madrid after defeating the French, in August 1812.
• The red smooth mahogany wood lends a warm undertone to the extremely lively brushwork and vivid
colours. The Duke was a personal hero of Goya’s for restoring  sovereignty to Spain.
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The red sanguine (chalk) drawing right is obviously drawn from life and shows an exhausted
Wellington fresh from the battlefield. The portrait enhances and ennobles his appearance.

•42
Sketches: Old Man on a Swing; Phantom, Dancing with Castanets
•(Album H),1824-28; Black Chalk, New York, Hispanic Society, 198 x 15 .1 cm.
•(Album H), 1824-28;
•Black Chalk, Prado, Madrid
•
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•43
The Milkmaid of Bordeaux, 1825-27
Prado, Madrid
•Oil on Canvas, 74.8 x 68 cms
•One of his last works, painted during his final stay in Bordeaux.
• Unusually, he returns to the softer blues and pastel tones of his earlier work.
•The handling is freer, more airy and almost impressionistic, and the mood is tranquil and
introspective.
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•44
Self Portrait,1787-1800
Goya Museum Castres
•Oil on Canvas, 50 x 30 cm
•The last ‘Self Portrait’
•In 1823 Goya gave over the ‘Quinta del Sordo’ to his nephew Mariano and in 1824 went into hiding,
fearing reprisals from the restored monarchy.
•He fled to Bordeaux to stay with his old friend Moratín and remained in Paris a long time, then
returned to Bordeaux with his companion Loecadia Weiss.
•The Court granted him permission to stay and, much freer, he painted his last works in a looser,
almost impressionistic style.
•He died on 11 April 1828 in Bordeaux.
•
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•45
Still Life: A butcher’s counter, 1810-12,
Louvre, Paris
•Oil on Canvas, 45 x 62 cm
• Conclusion
•“Realism, not in its accepted sense of naturalistic representation, but as a form of the artist’s
awareness of the function of his work, came into existence in the troubled Europe of the early
19th-century. The realism of a Courbet or a Daumier was anticipated by nearly a century by the
lonely figure of Goya, whose work was largely ignored or misunderstood.”
•(Abbruzzese,1967)
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