Length1h 42m
About this audiobook
Goya is perhaps the most approachable of painters. His art, like his life, is an open book. He concealed nothing from his contemporaries, and offered his art to them with the same frankness. The entrance to his world is not barricaded with technical difficulties. He proved that if a man has the capacity to live and multiply his experiences, to fight and work, he can produce great art without classical decorum and traditional respectability. He was born in 1746, in Fuendetodos, a small mountain village of a hundred inhabitants. As a child he worked in the fields with his two brothers and his sister until his talent for drawing put an end to his misery. At fourteen, supported by a wealthy patron, he went to Saragossa to study with a court painter and later, when he was nineteen, on to Madrid. Up to his thirty-seventh year, if we leave out of account the tapestry cartoons of unheralded decorative quality and five small pictures, Goya painted nothing of any significance, but once in control of his refractory powers, he produced masterpieces with the speed of Rubens. His court appointment was followed by a decade of incessant activity – years of painting and scandal, with intervals of bad health. Goya's etchings demonstrate a draughtsmanship of the first rank. In paint, like Velázquez, he is more or less dependent on the model, but not in the detached fashion of the expert in still-life. If a woman was ugly, he made her a despicable horror; if she was alluring, he dramatised her charm. He preferred to finish his portraits at one sitting and was a tyrant with his models. Like Velázquez, he concentrated on faces, but he drew his heads cunningly, and constructed them out of tones of transparent greys. Monstrous forms inhabit his black-and-white world: these are his most profoundly deliberated productions. His fantastic figures, as he called them, fill us with a sense of ignoble joy, aggravate our devilish instincts and delight us with the uncharitable ecstasies of destruction. His genius attained its highest point in his etchings on the horrors of war. When placed beside the work of Goya, other pictures of war pale into sentimental studies of cruelty. He avoided the scattered action of the battlefield, and confined himself to isolated scenes of butchery. Nowhere else did he display such mastery of form and movement, such dramatic gestures and appalling effects of light and darkness. In all directions Goya renewed and innovated.
Audiobook details
Rating★★★★ 4.1 (13)
Includes Goodreads
GenreOther
Length1 hr 42 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJul 1, 2011
LanguageEnglish
Table of contents
1Goya
2© Sirrocco, London, UK (English version) © Confidential Concepts, worldwide, USA
3Biography
4The paintings of Aula Dei.
5Becomes one of the King's painters.
Show all chaptersShow less
6Publication of The Bullfight.
7Publication of the lithographs: The Bulls of Bordeaux.
8Fernando in Madrid during an address he
91772 fresco, 700 x 1500 cm El Pilar, Saragossa
10500 oil paintings and murals, nearly 300
11a pioneer of the new printing method of lithog-
121774 oil on plaster, 306 x 790 cm Aula Dei, Saragossa
13his private observations. Two catastrophic
141776 oil on canvas, 272 x 295 cm Museo del Prado, Madrid
15testaments to the cruelty of mankind.
161777 oil on canvas, 272 x 295 cm Museo del Prado, Madrid
17tion, the Escuelas Pias de San Antón. Here he
181777 oil on canvas, 104 x 152 cm Museo del Prado, Madrid
19in-law.
20Prince Balthasar Carlos
211780 oil on canvas, 253 x 153 cm Museo del Prado, Madrid
22this
23exponent of the neo-classical style, and Goya
241780 oil on canvas, 259 x 136 cm Museo del Prado, Madrid
25during the eighteenth century by the Spanish
26Mary, Queen of Martyrs
27During the 1780s, Goya's career pros-
28of 15,000 reales per year (equivalent to about
291783 oil on canvas, 132.3 x 116.7 cm Mellon Bruce collection, Washington
30However, the son of humble parents and
311784 oil on canvas, 262 x 166 cm Bank of Spain, Madrid
321784 oil on canvas, 248 x 330 cm Corte di Mamiano, Parma
33The early years of the nineteenth century
341785 oil on canvas, 104 x 80 cm Bartolomé March Severa, Madrid
35Napoleon invited Ferdinand to Bayonne
361786 oil on canvas, 211 x 126 cm National Gallery, Washington
371786-1787 oil on canvas, 177 x 192 cm Museo del Prado, Madrid
38collaboration.
391786-1787 oil on canvas, 276 x 641 cm Museo del Prado, Madrid
40more imaginative.
41domination of a liberal government.
42Thoroughly disillusioned with Spain, Goya
431787 oil on canvas, 207 x 126 cm Museo del Prado, Madrid
44The King granted
451787 oil on canvas, 169 x 137 cm private collection
46engravings after Velázquez, the first copies of
471788 oil on canvas, 44 x 94 cm Museo del Prado, Madrid
48Middle Ages.
49Goya's less flattering Portrait of Charles III
501788 oil on canvas, 350 x 300 cm Valence Cathedral
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