Goya " Los Caprichos "

Spanish: Al Conde Palatino 

English: To the Count Palatine 

In all sciences there are people who know everything without 

Having learned and have a ready remedy for all ills.

One can't believe what they say.

The really intelligent person mistrusts them. 

The educated person makes moderate promises and keeps much in reserve.

The Count Palatine never keeps any promisses at all.

MMaxi12

 Goya " The Capriccios "

Spanish: Por que fue sensible 

English: She Was So Easily Influenced

This was to be expected. The world has its ups and downs 

and the life she led has no other end.

MMaxi12

Goya Los Caprichos 

Spanish: Ruega por ella 

English: She Prays for Her 

And she did well to do so ... that God may give her luck, keep her from harm, moneylenders, and cops ...

Make her skilful and carefull, wide-awake, and ready as her sainted mother.

MMaxi12

Goya Capriccios 

Spanish: Porque Esconderlos?

English: Why Hide the Money?

The answer is easy. He won't spend it; He doesn't spend it;  

he can't spend it. Although he is over eighty and as barely another month to live,

he is afraid that he might have no more left if he lives longer.

Such are the mistakes of Greed.

MMaxi12

It was in the year 1795 that the name Alba first appears in Goya's life.

The Duchess of Alba, 1795 

Oil on canvas, PC, Madrid 

On the 9th of june 1796 the Duke of Alba died in Seville and the Duchess spent her period of mourning on her country estate at Sanlùcar de Barrameda, in the province of Seville.

Various evidence indicates that Goya made a prolonged stay there at this time.

There are also two albums of drawings connected with this stay on the Alba estate.

They certainly contain some sketches of the Duchess and various members of her little country court.

Some of these Sketches were to basic elements for the composition of the Caprichos.

It was, in fact, just after this stay at Sanlùcar that Goya began to work actively on this series of etchings, which was finally published in 1799.

The Duchess of Alba, 1797 

Oil on canvas  

The Countess del Carpio, *Marchioness of Solana 1794-1795 

Oil on Canvas 

Musée Du Louvre, Paris 

*marchioness |ˈmär sh (ə)nəs|nounthe wife or widow of a marquess.• a woman holding the rank of marquess in her own right.ORIGIN late 16th cent.: from medieval Latin marchionissa, feminine of marchio(n-) ‘ruler of a border territory,’ from marcha ‘march’

The Duchess of Osuna Oil on canvas in Private Collection 

The oil painting of the Duchess of Osuna, the beautiful quality of the portrait of the Duchess, with the rich harmony of it's colours, could deservedly take its place among the most outstanding of Goya's female Portraits, Which as a series constitute one of the artist's finest achievements. It seems in this case that the Duchess's captivating personality, clearly described in contemporary accounts,Succeeded in breaking down the barrier of inhibitions that seem to have hampered the painter's natural spontaneity when confronted with sitters of high station.

The Parasol, certainly one of the most popular paintings in Spanish Art, which was to make so widespread an impression,

demonstrate Goya's ability in the face of artistic concepts and conditions that must have incited his innate nonconformity.

Part of the Tapestry cartoons.

Oil on canvas.

Francisco Goya born 30th March 1746 in Fuendetodos 

Leocadia Zorrilla (formely known as Josefa Bayeu ), ca 1814 

Goya 1746-1828

The remarkable Self-Portrait illustrates the painter's mastery at the age of about twenty-seven.

A number of versions of the painting exist.

It is the first of a series of self-portraits that continues throughout his career, recording truthfully and impassively the gradual transformation of his physiognomy.

The portrait is charged with energy and indicates an early physical maturity.

The occasion for this portrait was probably Goya's marriage to Francisco Bayeu's sister, Josefa.

The marriage took place in Madrid on 25th july 1773.