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{{Short description|Spanish painter and printmaker (1746–1828)}}
{{Redirect|Goya|the food company|Goya Foods|other uses|Goya (disambiguation)}}
{{redirect|Josefa Bayeu|the painting by Francisco Goya|Josefa Bayeu (painting)}}
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{{family name hatnote|de Goya|Lucientes|lang=Spanish}}
{{Use dmy dates|date=February 2023}}
{{Infobox artist
| name             = Francisco de Goya
| image            = Vicente López Portaña - el pintor Francisco de Goya.jpg
| caption          = Portrait by [[Vicente López Portaña]], 1826
| birth_name       = Francisco José de Goya y Lucientes
| birth_date       = {{birth date|1746|3|30|df=y}}
| birth_place      = [[Fuendetodos]], Aragon, [[History of Spain (1700–1808)|Spain]]
| death_date       = {{Death date and age|df=yes|1828|4|16|1746|3|30}}
| death_place      = [[Bordeaux]], [[Bourbon Restoration in France|France]]
| spouse           = {{marriage|Josefa Bayeu|1773|1812|end=d}}
| children         = 8
| field            = [[Painting]], [[drawing]] [[printmaking]]
| movement         = [[Romanticism]]
| notable_works    = {{unbulleted list
  |''[[La maja desnuda]]''
 |''[[The Third of May 1808]]''
 |''[[Black Paintings]]''
 |''[[Saturn Devouring His Son]]''}}
| module           = {{Infobox person|child=yes
| signature   = Firma de Francisco de Goya.svg}}
}}

[[File:Courtyard with Lunatics by Goya 1794.jpg|thumb|220px|''[[Yard with Lunatics]]'', {{c.|1794}}]]
'''Francisco José de Goya y Lucientes''' ({{IPAc-en|ˈ|g|ɔɪ|ə}}; {{IPAc-es|lang|f|r|a|n|'|c|i|s|c|o|_|j|o|'|s|é|_|d|e|_|'|g|o|y|a|_|y|_|l|u|'|c|i|e|n|t|e|s}}; 30 March 1746 – 16 April 1828) was a Spanish [[Romanticism|romantic]] painter and [[Printmaking|printmaker]]. He is considered the most important Spanish artist of the late 18th and early 19th centuries.<ref>{{Cite web|last=Voorhies|first=James|date=October 2003|title=Francisco de Goya (1746–1828) and the Spanish Enlightenment|url=https://www.metmuseum.org/toah/hd/goya/hd_goya.htm|access-date=17 April 2021|website=www.metmuseum.org|series=HEILBRUNN TIMELINE OF ART HISTORY ESSAYS|publisher=Department of European Paintings, The Metropolitan Museum of Art}}</ref> His paintings, drawings, and engravings reflected contemporary historical upheavals and influenced important 19th- and 20th-century painters.<ref>{{Cite web|last=Harris-Frankfort|first=Enriqueta|date=12 April 2021|title=Francisco Goya – The Napoleonic invasion and period after the restoration|url=https://www.britannica.com/biography/Francisco-Goya|access-date=18 April 2021|website=Encyclopedia Britannica|language=en}}</ref> Goya is often referred to as the last of the [[Old Master]]s and the first of the [[Modern art|moderns]].<ref>{{Cite web|title=The Frick Collection: Exhibitions|url=https://www.frick.org/sites/default/files/archivedsite/exhibitions/goya/exhibition.htm|access-date=18 April 2021|website=www.frick.org}}</ref> He is widely regarded as one of the most influential figures in the history of [[Western art]].<ref>https://www.ebsco.com/research-starters/history/francisco-de-goya</ref> 

Goya was born in [[Fuendetodos]], [[Aragon]] to a middle-class family in 1746. He studied painting from age 14 under [[José Luzán|José Luzán y Martínez]] and moved to [[Madrid]] to study with [[Anton Raphael Mengs]]. He married Josefa Bayeu in 1773. Goya became a court painter to the [[Spanish Crown]] in 1786 and this early portion of his career is marked by portraits of the Spanish [[aristocracy]] and royalty, and [[Rococo]]-style [[List of Francisco Goya's tapestry cartoons|tapestry cartoons]] designed for the royal palace.

Although Goya's letters and writings survive, little is known about his thoughts. He had a severe and undiagnosed illness in 1793 that left him [[Deafness|deaf]], after which his work became progressively darker and more pessimistic. His later [[easel]] and [[mural]] paintings, [[Printmaking|prints]], and [[drawing]]s appear to reflect a bleak outlook on personal, social, and political levels and contrast with his social climbing. He was appointed Director of the [[Real Academia de Bellas Artes de San Fernando|Royal Academy]] in 1795, the year [[Manuel Godoy]] made an unfavorable treaty with France. In 1799, Goya became ''Primer Pintor de Cámara'' (Prime Court Painter), the highest rank for a Spanish [[court painter]]. In the late 1790s, commissioned by Godoy, he completed his ''[[La maja desnuda]]'', a remarkably daring nude for the time and clearly indebted to [[Diego Velázquez]]. In 1800–01, he painted ''[[Charles IV of Spain and His Family]]'', also influenced by Velázquez.

In 1807, [[Napoleon]] led the French army into the [[Peninsular War]] against Spain. Goya remained in Madrid during the war, which seems to have affected him deeply. Although he did not speak his thoughts in public, they can be inferred from his ''[[The Disasters of War|Disasters of War]]'' series of prints (although published 35 years after his death) and his 1814 paintings ''[[The Second of May 1808]]'' and ''[[The Third of May 1808]]''. Other works from his mid-period include the ''[[Los Caprichos|Caprichos]]'' and ''[[Los Disparates]]'' [[etching]] series, and a wide variety of paintings concerned with [[Yard with Lunatics|insanity]], [[The Madhouse|mental asylums]], [[Witches' Flight|witches]], [[The Bewitched Man|fantastical creatures]] and [[The Inquisition Tribunal|religious]] and [[The Junta of the Philippines|political corruption]], all of which suggest that he feared for both his country's fate and his own mental and physical health.

His late period culminates with the ''[[Black Paintings]]'' of 1819–1823, applied on oil on the plaster walls of his house the [[Quinta del Sordo]] (''House of the Deaf Man'') where, disillusioned by political and social developments in Spain, he lived in near isolation. Goya eventually abandoned Spain in 1824 to retire to the French city of [[Bordeaux]], accompanied by his much younger maid and companion, [[Leocadia Weiss]], who may have been his lover. There he completed his ''[[La Tauromaquia]]'' series and a number of other works. Following a [[stroke]] that left him paralyzed on his right side, Goya died and was buried on 16 April 1828 aged 82.

==Early years (1746–1771)==
[[File:Casa natal de Francisco Goya, Fuendetodos, Zaragoza, España, 2015-01-08, DD 06.JPG|thumb|220px|Birth house of Francisco Goya, Fuendetodos, Zaragoza]]
Francisco de Goya was born in [[Fuendetodos]], Aragón, [[History of Spain (1700–1808)|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.<ref name="h32">Hughes (2004), 32</ref> They were lower middle-class. José was the son of a [[notary]] and of [[Basque people|Basque]] origin, his ancestors being from [[Zerain]],<ref>{{cite web|url=http://www.zerain.com/francisco-de-goya,lista,57,famous-people-from-zerain,21,know-it,3|title=ZERAINGO OSPETSUAK : Francisco de Goya|website=Zerain.com|access-date=21 October 2017|archive-url=https://web.archive.org/web/20171022145415/http://www.zerain.com/francisco-de-goya,lista,57,famous-people-from-zerain,21,know-it,3|archive-date=22 October 2017|url-status=dead}}</ref> earning his living as a [[gilding|gilder]], specialising in religious and decorative craftwork.<ref name="c67">Connell (2004), 6–7</ref> He oversaw the gilding and most of the ornamentation during the rebuilding of the [[Basilica of Our Lady of the Pillar]] (''Santa Maria del Pilar''), the principal cathedral of Zaragoza. Francisco was their fourth child, following his sister Rita (b. 1737), brother Tomás (b. 1739) (who was to follow in his father's trade) and second sister Jacinta (b. 1743). There were two younger sons, Mariano (b. 1750) and Camilo (b. 1753).<ref name="h27">Hughes (2004), 27</ref>

His mother's family had pretensions of nobility and the house, a modest brick cottage, was owned by her family and, perhaps fancifully, bore their [[family crest|crest]].<ref name="c67" /> About 1749 José and Gracia bought a home in Zaragoza and were able to return to live in the city. Although there are no surviving records, it is thought that Goya may have attended the Escuelas Pías de San Antón, which offered free schooling. His education seems to have been adequate but not enlightening; he had reading, writing and numeracy, and some knowledge of the classics. According to [[Robert Hughes (critic)|Robert Hughes]] the artist "seems to have taken no more interest than a carpenter in philosophical or theological matters, and his views on painting ... were very down to earth: Goya was no theoretician."<ref name="h33">Hughes (2004), 33</ref> At school he formed a close and lifelong friendship with fellow pupil [[Martín Zapater]]; the 131 letters Goya wrote to him from 1775 until Zapater's death in 1803 give valuable insight into Goya's early years at the court in Madrid.<ref name="h32" /><ref>"[https://www.museodelprado.es/aprende/enciclopedia/voz/cartas-de-goya-a-martin-zapater/2ab3aedb-07a9-4031-b6e0-64d9806ac8b5 Cartas de Goya a Martín Zapater]. Museo del Prado. Retrieved 13 December 2015</ref>

==Visit to Italy==
At age 14 Goya studied under the painter [[José Luzán]], where he copied prints{{which|date=October 2020}} for 4 years until he decided to work on his own, as he wrote later on "paint from my invention".<ref>Connell (2004), 14</ref> He moved to Madrid to study with [[Anton Raphael Mengs]], a popular painter with [[Spain|Spanish]] royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the [[Real Academia de Bellas Artes de San Fernando]] in 1763 and 1766 but was denied entrance into the academia.<ref>Hagen & Hagen, 317</ref>

[[File:Josefa Bayeu Francisco De Goya y Lucientes.jpg|thumb|150px|''Portrait of Josefa Bayeu'' (1747–1812)]]
Rome was then the cultural capital of Europe and held all the prototypes of classical antiquity, while Spain lacked a coherent artistic direction, with all of its significant visual achievements in the past. Having failed to earn a scholarship, Goya relocated at his own expense to Rome in the old tradition of European artists stretching back at least to [[Albrecht Dürer]].<ref name="h34">Hughes (2004), 34</ref> He was an unknown at the time and so the records are scant and uncertain. Early biographers have him travelling to Rome with a gang of bullfighters, where he worked as a street [[acrobatics|acrobat]], or for a Russian diplomat, or fell in love with a beautiful young nun whom he plotted to abduct from her convent.<ref name="h37">Hughes (2004), 37</ref> It is possible that Goya completed two surviving mythological paintings during the visit, a ''Sacrifice to Vesta'' and a ''Sacrifice to Pan'', both dated 1771.<ref>Eitner (1997), 58</ref>

In 1771 he won second prize in a painting competition organized by the City of [[Parma]]. That year he returned to Zaragoza and painted elements of the [[cupola]]s of the [[Basilica of Our Lady of the Pillar|Basilica of the Pillar]] (including ''[[Adoration of the Name of God]]''), a [[Frescoes in the Cartuja de Aula Dei|cycle of frescoes]] for the monastic church of the [[Charterhouse of Aula Dei]], and the frescoes of the Sobradiel Palace. He studied with the Aragonese artist [[Francisco Bayeu y Subías]] and his painting began to show signs of the delicate tonalities for which he became famous. He befriended Francisco Bayeu and married his sister [[Josefa Bayeu|Josefa]] (he nicknamed her "Pepa")<ref>Baticle (1994), 74</ref> on 25 July 1773. Their first child, Antonio Juan Ramon Carlos, was born on 29 August 1774.<ref>Symmons (2004), 66</ref> Of their seven children only one, a son named Javier, survived into adulthood.<ref>Goya F., Stepanek S. L., Ilchman F., Tomlinson J. A., Ackley C. S., Braun J. E., Mena M., Maurer G., Polidori E., Reed S. W., Weiss B., Wilson-Bareau J. & Museum of Fine Arts Boston. (2014). ''Goya: Order & Disorder'' (First). MFA Publications.
p. 14. {{ISBN|9780878468089}}.</ref>

== Madrid (1775–1789) ==
{{See also|Francisco Goya's tapestry cartoons|List of Francisco Goya's tapestry cartoons}}
[[File:Caza con reclamo.jpg|180px|thumb|''Caza con reclamo'' (1775)]]
[[File:El Quitasol (Goya).jpg|180px|thumb|''The Parasol'', 1777]]
[[Francisco Bayeu y Subías|Francisco Bayeu]] (Josefa Bayeu's brother), 1765 membership of the Real Academia de Bellas Artes de San Fernando, and directorship of the tapestry works from 1777 helped Goya earn a commission for a series of [[Francisco Goya's tapestry cartoons|tapestry cartoons]] for the Royal Tapestry Factory. Over five years he designed some 42 patterns, many of which were used to decorate and insulate the stone walls of [[El Escorial]] and the [[Royal Palace of El Pardo|Palacio Real del Pardo]], the residences of the Spanish monarchs. While designing tapestries was neither prestigious nor well paid, his cartoons are mostly popular in a [[rococo]] style, and Goya used them to bring himself to wider attention.<ref name="hh7">Hagen & Hagen, 7</ref>

The cartoons were not his only royal commissions and were accompanied by a series of engravings, mostly copies after old masters such as [[Marcantonio Raimondi]] and [[Diego Velázquez|Velázquez]]. Goya had a complicated relationship with the latter artist; while many of his contemporaries saw folly in Goya's attempts to copy and emulate him, he had access to a wide range of the long-dead painter's works that had been contained in the royal collection.<ref>Hughes (2004), 95</ref> Nonetheless, etching was a medium that the young artist was to master, a medium that was to reveal both the true depths of his imagination and his political beliefs.<ref>Hagen; Hagen (1999), 7</ref> His {{Circa|1779}} etching of ''The Garrotted Man'' ("El agarrotado"<ref>{{Cite web |title=print study {{!}} British Museum |url=https://www.britishmuseum.org/collection/object/P_1875-0612-95 |access-date=7 November 2022 |website=The British Museum |language=en}}</ref>) was the largest etching he had produced to date and obviously foreshadows his later "[[The Disasters of War|Disasters of War]]" series.<ref>Hughes (2004), 96</ref>

[[File:Goya - The Garroted Man.jpg|thumb|140px|''The Garrotted Man'', before 1780. [[National Gallery of Art]], Washington, D.C.]]
Goya was beset by illness, and his condition was used against him by his rivals, who looked jealously upon any artist seen to be rising in stature. Some of the larger cartoons, such as ''The Wedding'', were more than 8 by 10 feet, and had proved a drain on his physical strength. Ever resourceful, Goya turned this misfortune around, claiming that his illness had allowed him the insight to produce works that were more personal and informal.<ref>Hughes (2004), 130</ref> However, he found the format limiting, as it did not allow him to capture complex color shifts or texture, and was unsuited to the [[impasto]] and [[Glaze (painting technique)|glazing]] techniques he was by then applying to his painted works. The tapestries seem as comments on human types, fashion and fads.<ref>Hughes (2004), 83</ref>

Other works from the period include a canvas for the altar of the [[San Francisco el Grande Basilica, Madrid|Church of San Francisco El Grande]] in Madrid, which led to his appointment as a member of the Royal Academy of Fine Art.

==Court painter==
{{See also|List of works by Francisco Goya|Paintings for the alameda of the Dukes of Osuna}}

In 1783, the [[José Moñino y Redondo, conde de Floridablanca|Count of Floridablanca]], favorite of [[Charles III of Spain|King Charles III]], commissioned Goya to paint his portrait. He became friends with the King's half-brother [[Infante Luis, Count of Chinchón|Luis]], and spent two summers working on portraits of both the Infante and his family.<ref>Tomlinson (2003), 147</ref> During the 1780s, his circle of patrons grew to include the [[María Josefa Pimentel, Duchess of Osuna|Duke and Duchess of Osuna]], the King and other notable people of the kingdom whom he painted. In 1786, Goya was given a salaried position as a painter to Charles III.

Goya was appointed court painter to Charles IV in 1789. The following year he became First Court Painter, with a salary of 50,000 [[Spanish real|reales]] and an allowance of 500 [[ducat]]s for a coach. He painted portraits of the king and the queen, and the Spanish Prime Minister [[Manuel de Godoy]] and many other nobles. These portraits are notable for their disinclination to flatter; his ''[[Charles IV of Spain and His Family]]'' is an especially brutal assessment of a royal family.{{efn-ua|"Even if one takes into consideration the fact that Spanish portraiture is often realistic to the point of eccentricity, Goya's portrait still remains unique in its drastic description of human bankruptcy". Licht (1979), 68}} Modern interpreters view the portrait as satirical; it is thought to reveal the corruption behind the rule of Charles IV.  Under his reign his wife [[Maria Luisa of Parma|Louisa]] was thought to have had the real power, and thus Goya placed her at the center of the group portrait. From the back left of the painting one can see the artist himself looking out at the viewer, and the painting behind the family depicts [[Lot (biblical person)|Lot]] and his daughters, thus once again echoing the underlying message of corruption and decay.<ref>Hagen & Hagen, 29.</ref>

Goya earned commissions from the highest ranks of the [[Spanish nobility]], including [[Pedro Téllez-Girón, 9th Duke of Osuna]] and his wife [[María Josefa Pimentel, 12th Countess-Duchess of Benavente]], [[José Álvarez de Toledo, Duke of Alba]] and his wife [[María Cayetana de Silva, 13th Duchess of Alba|María del Pilar de Silva]], and [[María Ana de Pontejos y Sandoval, Marchioness of Pontejos]]. In 1801 he painted Godoy in a commission to commemorate the victory in the brief [[War of the Oranges]] against Portugal. The two were friends, even if Goya's [[Portrait of Manuel Godoy|1801 portrait]] is usually seen as satire. Yet even after Godoy's fall from grace the politician referred to the artist in warm terms. Godoy saw himself as instrumental in the publication of the Caprichos and is widely believed to have commissioned ''[[La maja desnuda]]''.<ref>Tomlinson (1991), 59</ref>

{{Multiple image
| image1            = La familia del infante don Luis.jpg
| align             = center
| caption1          = ''[[The Family of the Infante Don Luis]]'', 1784. Magnani-Rocca, [[Parma]]
| caption2          = ''[[Charles IV of Spain and His Family]]'', 1800–01{{efn-ua|[[Théophile Gautier]] described the figures as looking like "the corner baker and his wife after they won the lottery".<ref>Chocano, Carina. "[https://web.archive.org/web/20100530004804/http://www.latimes.com/entertainment/news/movies/cl-et-goya20jul20,1,399263.story?ctrack=1&cset=true Goya's Ghosts]". ''Los Angeles Times'', 20 July 2007. Retrieved 18 January 2008.</ref>}}
| caption3          = ''[[Portrait of Manuel Godoy]]'', 1801. Real Academia de Bellas Artes de San Fernando
| image2            = La familia de Carlos IV, por Francisco de Goya.jpg
| image3            = Francisco de Goya - Godoy como general - Google Art Project.jpg
| total_width       = 700
}}

==Middle period (1793–1799)==
{{multiple image
| caption_align     = center
| header_align      = center
| align             = center
| direction         = horizontal
| image1            = Goya Maja naga2.jpg
| width1            = 280
| height1           = 400
| alt1              = ''[[La maja desnuda]]'', 1790–1800
| caption1          = ''[[La maja desnuda]]'', 1790–1800
| image2            = Maja vestida (Prado).jpg
| width             = 280
| height2           = 400
| caption2          = ''[[La maja vestida]]'', 1800–1805
}}

''La Maja Desnuda'' (''La maja desnuda'') has been described as "the first totally profane life-size female nude in Western art" without pretense to allegorical or mythological meaning.<ref>Licht (1979), 83</ref> The identity of the ''Majas'' is uncertain. The most popularly cited models are the [[María Cayetana de Silva, 13th Duchess of Alba|Duchess of Alba]], with whom Goya was sometimes thought to have had an affair, and Pepita Tudó, mistress of [[Manuel de Godoy]]. Neither theory has been verified, and it remains as likely that the paintings represent an idealized composite.<ref>"[http://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/the-nude-maja/ The Nude Maja, the Prado] {{Webarchive|url=https://web.archive.org/web/20100103055501/http://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/the-nude-maja/ |date=3 January 2010 }}". Retrieved 17 July 2010.</ref> The paintings were never publicly exhibited during Goya's lifetime and were owned by Godoy.<ref name="g">[https://www.theguardian.com/artanddesign/2003/oct/04/art.biography The unflinching eye.]. ''The Guardian'', October 2003.</ref> In 1808 all Godoy's property was seized by [[Ferdinand VII]] after his fall from power and exile, and in 1813 the [[Spanish Inquisition|Inquisition]] confiscated both works as 'obscene', returning them in 1836 to the Academy of Fine Arts of San Fernando.<ref>''Museo del Prado, Catálogo de las pinturas''. Ministerio de Educación y Cultura, Madrid, 1996. 138. {{ISBN|84-87317-53-7}}</ref>

In 1798 he painted luminous and airy scenes for the [[pendentive]]s and cupola of the [[Royal Chapel of St. Anthony of La Florida|Real Ermita (Chapel) of San Antonio de la Florida]] in Madrid. His depiction of a miracle of [[Saint Anthony of Padua]] is devoid of the customary angels and instead treats the miracle as if it were a theatrical event performed by ordinary people.<ref>Hagen & Hagen, 70–73</ref>

[[File:Museo del Prado - Goya - Caprichos - No. 43 - El sueño de la razon produce monstruos.jpg|upright|140px|thumb|''[[The Sleep of Reason Produces Monsters]]'', {{circa|1797}}, {{cvt|21.5|×|15|cm|in|frac=8}}]]

At some time between late 1792 and early 1793, an undiagnosed illness left Goya deaf. He became withdrawn and introspective while the direction and tone of his work changed. He began the series of [[aquatint]]ed [[etching]]s, published in 1799 as the ''[[Caprichos]]''—completed in parallel with the more official commissions of portraits and religious paintings. In 1799 Goya published 80 ''Caprichos'' prints depicting what he described as "the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual".<ref>[http://cargocollective.com/jameswilentz/#Francisco-Goya-de-Lucientes-The-Sleep-of-Reason-Produces-Monsters The Sleep of Reason] {{Webarchive|url=https://web.archive.org/web/20181122182141/http://cargocollective.com/jameswilentz/#Francisco-Goya-de-Lucientes-The-Sleep-of-Reason-Produces-Monsters |date=22 November 2018 }} Linda Simon (www.worldandi.com). Retrieved 2 December 2006.</ref> The visions in these prints are partly explained by the caption "The sleep of reason produces monsters". Yet these are not solely bleak; they demonstrate the artist's sharp satirical wit, as in ''Capricho'' number 52, ''What a Tailor Can Do!''<ref>Hagen & Hagen, 35–36</ref>

While convalescing between 1793 and 1794, Goya completed a set of eleven small pictures painted on tin that marked a significant change in the tone and subject matter of his art, and drew from the dark and dramatic realms of fantasy nightmare. ''[[Yard with Lunatics]]'' is a vision of loneliness, fear and social alienation. The condemnation of brutality towards prisoners (whether criminal or insane) is a subject that Goya assayed in later works<ref name="Eisenman2007">{{cite book|last=Crow|first=Thomas|editor=Stephen Eisenman|title=Nineteenth Century Art.: A Critical History|url=https://www.msu.edu/course/ha/445/crowgoya.pdf|access-date=12 October 2013|edition=3rd |year=2007|publisher=Thames and Hudson|location= New York|chapter=3: Tensions of the Enlightenment, Goya}}</ref> that focused on the degradation of the human figure.<ref>Licht (1979), 156</ref> It was one of the first of Goya's mid-1790s [[cabinet painting]]s, in which his earlier search for ideal beauty gave way to an examination of the relationship between naturalism and fantasy that would preoccupy him for the rest of his career.<ref>Schulz, Andrew. "The Expressive Body in Goya's Saint Francis Borgia at the Deathbed of an Impenitent". ''The Art Bulletin'', 80.4 1998.</ref> He was undergoing a nervous breakdown and entering prolonged physical illness,<ref>It is not known why Goya became sick, the many theories range from [[polio]] or [[syphilis]], to lead poisoning. Yet he survived until eighty-two years.</ref> and admitted that the series was created to reflect his own self-doubt, anxiety and fear that he was losing his mind.<ref>Hughes, Robert. "[https://www.theguardian.com/artanddesign/2003/oct/04/art.biography The unflinching eye]". ''[[The Guardian]]'', 4 October 2003. Retrieved 30 January 2010.</ref> Goya wrote that the works served "to occupy my imagination, tormented as it is by contemplation of my sufferings."<ref>"Para occupar la imaginacion mortificada en la consideración de mis males" 4 January 1794. ''''' MS''. Egerton 585, folio 74. Department of Manuscripts, British Museum. Reproduced in Gassier, Wilson, Appendix IV, p. 382.'''</ref> The series, he said, consisted of pictures which "normally find no place in commissioned works".{{Citation needed|date=October 2023}}

Goya's physical and mental breakdown seems to have happened a few weeks after the French declaration of war on Spain. A contemporary reported, "The noises in his head and deafness aren't improving, yet his vision is much better and he is back in control of his balance."<ref name="Hustvedt2006">{{cite book|last=Hustvedt|first=Siri|title=Mysteries of the Rectangle: Essays on Painting|url=https://books.google.com/books?id=vBOmcfgBzswC&pg=PA63|date=10 August 2006|publisher=Princeton Architectural Press|isbn=978-1-56898-618-0|page=63}}</ref> These symptoms may indicate a prolonged viral encephalitis, or possibly a series of miniature strokes resulting from high blood pressure and which affected the hearing and balance centres of the brain. Symptoms of [[tinnitus]], episodes of [[balance disorder|imbalance]] and progressive [[deafness]] are typical of [[Ménière's disease]].<ref name="Gedo1985">{{cite book|author=Mary Mathews Gedo|title=Psychoanalytic Perspectives on Art: PPA|url=https://books.google.com/books?id=nbDpAAAAMAAJ|year=1985|publisher=Analytic Press|isbn=978-0-88163-030-5|page=82}}</ref> It is possible that Goya had cumulative [[lead poisoning]], as he used massive amounts of [[lead white]]—which he ground himself<ref name="HCC">[http://medicalalumni.org/historicalcpc/home/ Historical Clinicopathological Conference (2017)] {{Webarchive|url=https://web.archive.org/web/20200811070812/http://medicalalumni.org/historicalcpc/home/ |date=11 August 2020 }} University of Maryland School of Medicine, Retrieved 27 January 2017.</ref>—in his paintings, both as a canvas primer and as a primary colour.<ref name="Hollandsworth1990">{{cite book|author=James G. Hollandsworth|title=The Physiology of Psychological Disorders: Schizophrenia, Depression, Anxiety and Substance Abuse|url=https://books.google.com/books?id=FuFjEEwspusC&pg=PA3|date=31 January 1990|publisher=Springer|isbn=978-0-306-43353-5|pages=3–4}}</ref><ref name="Connell2004">Connell (2004), 78–79</ref>

Other postmortem diagnostic assessments include [[Susac's syndrome]]<ref>[https://www.livescience.com/58890-goya-mystery-illness-diagnosis.html Goya's Mystery Illness: Nearly 200 Years Later, Docs Have a Diagnosis]</ref> or may point toward paranoid dementia, possibly due to brain trauma, as evidenced by marked changes in his work after his recovery, culminating in the "black" paintings.<ref name="ChuDixon2008">{{cite book|author1=Petra ten-Doesschate Chu|author2=Laurinda S. Dixon|title=Twenty-first-century Perspectives on Nineteenth-century Art: Essays in Honor of Gabriel P. Weisberg|url=https://books.google.com/books?id=wGPPe8l-HmwC&pg=PA127|year=2008|publisher=Associated University Presse|isbn=978-0-87413-011-9|page=127}}</ref> Art historians have noted Goya's singular ability to express his personal demons as horrific and fantastic imagery that speaks universally, and allows his audience to find its own catharsis in the images.<ref name="Williams2011">{{cite book|last=Williams|first=Paul|title=The Psychoanalytic Therapy of Severe Disturbance|url=https://books.google.com/books?id=evXyjSkj22QC&pg=PA238|date=3 February 2011|publisher=Karnac Books|isbn=978-1-78049-298-8|page=238}}</ref>

==Peninsular War (1808–1814)==
The French army invaded Spain in 1808, leading to the [[Peninsular War]] of 1808–1814. The extent of Goya's involvement with the court of the "intruder king", [[Joseph Bonaparte|Joseph I]], the brother of [[Napoleon Bonaparte]], is not known; he painted works for French patrons and sympathisers, but kept neutral during the fighting. After the restoration of the Spanish King [[Ferdinand VII of Spain|Ferdinand VII]] in 1814, Goya denied any involvement with the French. By the time of his wife Josefa's death in 1812, he was painting ''[[The Second of May 1808]]'' and ''[[The Third of May 1808]]'', and preparing the series of etchings later known as ''[[The Disasters of War]]'' (''Los desastres de la guerra''). Ferdinand VII returned to Spain in 1814 but relations with Goya were not cordial. The artist completed portraits of the king for a variety of ministries, but not for the king himself.

Although Goya did not make his intention known when creating ''The Disasters of War'', art historians view them as a visual protest against the violence of the 1808 [[Dos de Mayo Uprising]], the subsequent Peninsular War and the move against liberalism in the aftermath of the [[History of Spain (1810–73)|restoration of the Bourbon monarchy]] in 1814. The scenes are singularly disturbing, sometimes macabre in their depiction of battlefield horror, and represent an outraged conscience in the face of death and destruction.<ref name="Bareau, 45">Wilson-Bareau, 45</ref> They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons.<ref name = "Jones 2003">Jones, Jonathan. "[https://www.theguardian.com/culture/2003/mar/31/artsfeatures.turnerprize2003 Look what we did]". ''The Guardian'', 31 March 2003. Retrieved 29 August 2009.</ref>

The first 47 plates in the series focus on incidents from the war and show the consequences of the conflict on individual soldiers and civilians. The middle series (plates 48 to 64) record the effects of the famine that hit Madrid in 1811–12, before the city was liberated from the French. The final 17 reflect the bitter disappointment of liberals when the restored Bourbon monarchy, encouraged by the Catholic hierarchy, rejected the [[Spanish Constitution of 1812]] and opposed both state and religious reform. Since their first publication, Goya's scenes of atrocities, starvation, degradation and humiliation have been described as the "prodigious flowering of rage".<ref name="C175">Connell (2004), 175</ref>

<gallery widths="250" heights="190">
File:El Tres de Mayo, by Francisco de Goya, from Prado thin black margin.jpg|''[[The Third of May 1808]]'', 1814. Oil on canvas, {{cvt|266|×|345|cm|in}}. {{Lang|es|[[Museo del Prado]]|italic=no}}, Madrid
File:El dos de mayo de 1808 en Madrid.jpg|''[[The Second of May 1808]]'', 1814
File:Prado - Los Desastres de la Guerra - No. 04 - Las mugeres dan valor.jpg|Plate 4: ''Las mujeres dan valor'' (''The women are courageous''). This plate depicts a struggle between a group of civilians fighting soldiers.
File:Prado - Los Desastres de la Guerra - No. 05 - Y son fieras.jpg|Plate 5: ''Y son fieras'' (''And they are fierce'' or ''And they fight like wild beasts''). Civilian women fight against soldiers with spears and rocks.
File:Prado - Los Desastres de la Guerra - No. 46 - Esto es malo.jpg|alt=Soldiers in large fur hats, long coats and winter uniforms murder priests by running them through with their long bladed swords.|Plate 46: ''Esto es malo'' (''This is bad''). A monk is killed by French soldiers looting church treasures. A rare sympathetic image of clergy, who were generally shown on the side of oppression and injustice.<ref name="Barnes">Fremont-Barnes, Gregory. "The Napoleonic wars: the Peninsular War 1807–1814". Oxford: Osprey Publishing, 2002. 73. {{ISBN|1-84176-370-5}}</ref>
File:Prado - Los Desastres de la Guerra - No. 47 - Así sucedió.jpg|Plate 47: ''Así sucedió'' (''This is how it happened''). The last print in the first group. Murdered monks lie by French soldiers looting church treasures.
</gallery>

His works from 1814 to 1819 are mostly commissioned portraits, but also include the altarpiece of [[Santa Justa and Santa Rufina]] for the [[Seville Cathedral|Cathedral of Seville]], the print series of ''[[La Tauromaquia]]'' depicting scenes from [[bullfighting]], and probably the etchings of ''[[Los disparates|Los Disparates]]''.{{Citation needed|date=October 2023}}

==Quinta del Sordo and Black Paintings (1819–1822)==
[[File:Francisco de Goya, Saturno devorando a su hijo (1819-1823).jpg|thumb|right|''[[Saturn Devouring His Son]]'', 1819–1823.]]

Records of Goya's later life are relatively scant, and ever politically aware, he suppressed a number of his works from this period, working instead in private.<ref>Connell, 175</ref> He was tormented by a dread of old age and fear of madness.<ref>The cause of Goya's illness is unknown; theories range from [[polio]] to [[syphilis]] to [[lead poisoning]]. See Connell, 78–79</ref> Goya had been a successful and royally placed artist, but withdrew from public life during his final years. From the late 1810s he lived in near-solitude outside Madrid in a farmhouse converted into a studio. The house had become known as "La [[Quinta del Sordo]]" (The House of the Deaf Man), after the nearest farmhouse that had coincidentally also belonged to a deaf man.<ref>Connell, 204; Hughes, 372</ref>

Art historians assume Goya felt alienated from the social and political trends that followed the 1814 [[History of Spain (1810–73)|restoration of the Bourbon monarchy]], and that he viewed these developments as reactionary means of social control. In his unpublished art he seems to have railed against what he saw as a tactical retreat into [[Medievalism]].<ref name="NYM">Larson, Kay. "Dark Knight". ''New York Magazine'', Volume 22, No. 20, 15 May 1989. 111.</ref> It is thought that he had hoped for political and religious reform, but like many liberals became disillusioned when the restored Bourbon monarchy and Catholic hierarchy rejected the Spanish Constitution of 1812.<ref>Stoichita; Coderch, 25–30</ref>

At the age of 75, alone and in mental and physical despair, he completed the work of his 14 ''[[Black Paintings]]'',{{efn-ua|A contemporary inventory compiled by Goya's friend, the painter Antonio de Brugada, records 15. See Lubow, 2003}} all of which were executed in oil directly onto the plaster walls of his house. Goya did not intend for the paintings to be exhibited, did not write of them,{{efn-ua|As he had with the "[[Los caprichos|Caprichos]]" and "[[The Disasters of War]]" series. Licht (1979), 159}} and likely never spoke of them.<ref>Licht (1979), 159</ref> Around 1874, 50 years after his death, they were taken down and [[Transfer of panel paintings|transferred to a canvas support]] by owner [[Frédéric Émile d'Erlanger|Baron Frédéric Émile d'Erlanger]]. Many of the works were significantly altered during the restoration, and in the words of Arthur Lubow what remain are "at best a crude facsimile of what Goya painted."<ref>Lubow, Arthur. "[https://www.nytimes.com/2003/07/27/magazine/27GOYA.html The Secret of the Black Paintings]". ''[[The New York Times]]'', 27 July 2003. Retrieved 3 October 2010.</ref> The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals suffered extensive damage and loss of paint. Today, they are on permanent display at the {{Lang|es|[[Museo del Prado]]|italic=no}}, Madrid.

[[File:Francisco de Goya y Lucientes - Witches' Sabbath (The Great He-Goat).jpg|thumb|center|600px|[[Witches' Sabbath (The Great He-Goat)|''Witches' Sabbath'' or ''Aquelarre'']] is one of 14 from the ''[[Black Paintings]]'' series.|alt=In an array of earthen colors, a black silhouetted horned figure to the left foreground presides over and addresses a large circle of a tightly packed group of wide-eyed intense, scary, elderly and unruly women]]

==Bordeaux (October 1824 – 1828)==
[[File:Goya MilkMaid.jpg|thumb|220px|''[[The Milkmaid of Bordeaux]]'', 1825–27, is the third and final Goya portrait which may depict Leocadia Weiss.<ref name="H402">Hughes (2004), 402</ref>]]

[[Leocadia Zorrilla|Leocadia Weiss]] (née Zorrilla, 1790–1856),<ref>Junquera, 13</ref><ref>{{cite book |last1=Stevenson |first1=Ian |author-link1=Ian Stevenson |title=[[European Cases of the Reincarnation Type]] |date=2003 |publisher=McFarland & Co. |isbn=9781476601151 |pages=243–244 |edition=2015}}</ref> the artist's maid, younger by 35 years, and a distant relative,<ref>Gassier, 103</ref> lived with and cared for Goya after Bayeu's death. She stayed with him in his [[Black paintings|Quinta del Sordo]] villa until 1824 with her daughter [[Rosario Weiss Zorrilla|Rosario]].<ref name="BU79">Buchholz, 79</ref> Leocadia was probably similar in features to Goya's first wife Josefa Bayeu, to the point that one of his well-known portraits bears the cautious title of ''Josefa Bayeu (or Leocadia Weiss)''.<ref>Connell (2004), 28</ref>

Not much is known about her beyond her fiery temperament. She was likely related to the Goicoechea family, a wealthy dynasty into which the artist's son, Javier, had married. It is known that Leocadia had an unhappy marriage with a jeweler, Isidore Weiss, but was separated from him since 1811, after he had accused her of "illicit conduct". She had two children before that time, and bore a third, Rosario, in 1814 when she was 26. Isidore was not the father, and it has often been speculated—although with little firm evidence—that the child belonged to Goya.<ref>Hughes (2004), 372</ref> There has been much speculation that Goya and Weiss were romantically linked; however, it is more likely the affection between them was sentimental.<ref>Junquera, 68</ref>

Goya died on 16 April 1828.<ref>{{cite encyclopedia |author=Chilvers, Ian |url=http://www.oxfordreference.com/view/10.1093/acref/9780198604761.001.0001/acref-9780198604761-e-1492?rskey=EwcJkJ&result=7 |title=Goya, Francisco de |encyclopedia=The Oxford Dictionary of Art |date = January 2004|publisher=Oxford University Press |isbn = 978-0-19-860476-1|edition=2014 online |access-date=15 April 2019 }}</ref> Leocadia was left nothing in Goya's will; mistresses were often omitted in such circumstances, but it is also likely that he did not want to dwell on his mortality by thinking about or revising his will. She wrote to a number of Goya's friends to complain of her exclusion but many of her friends were Goya's also and by then were old men or had died, and did not reply. Largely destitute, she moved into rented accommodation, later passing on her copy of the ''[[Los caprichos|Caprichos]]'' for free.<ref>Connell (2004), 235</ref>

Goya's body was later re-interred in the [[Royal Chapel of St. Anthony of La Florida|Real Ermita de San Antonio de la Florida]] in Madrid. Goya's skull was missing, a detail the Spanish consul immediately communicated to his superiors in Madrid, who wired back, "Send Goya, with or without head."<ref>{{Cite book|url=https://books.google.com/books?id=Yyj5PK-15UwC&q=with+or+without+head+fuentes+goya&pg=PA230|title= The Buried Mirror: Reflections on Spain and the New World. London |last=Carlos |first=Fuentes|date=1992|publisher=Andre Deutsch Ltd |isbn=978-02339-79953 |page=230}}</ref>

==Goya's influence on modern and contemporary artists and writers==

Goya is often referred to as the last of the [[Old Master]]s and the first of the [[Modern art|moderns]].<ref>{{Cite news |date=2003-10-04 |title=The unflinching eye |url=https://www.theguardian.com/artanddesign/2003/oct/04/art.biography |access-date=2024-04-27 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref><ref>{{Cite news |last=Lubow |first=Arthur |date=2003-07-27 |title=The Secret of the Black Paintings |url=https://www.nytimes.com/2003/07/27/magazine/the-secret-of-the-black-paintings.html |access-date=2024-04-27 |work=The New York Times |language=en-US |issn=0362-4331}}</ref><ref>{{Cite web |last=Danto |first=Arthur C. |date=2004-03-01 |title=FRANCISCO DE GOYA |url=https://www.artforum.com/columns/francisco-de-goya-168178/ |access-date=2024-04-27 |website=Artforum |language=en-US}}</ref> Among the 20th-century painters influenced by Goya are the Spanish masters [[Pablo Picasso]] and [[Salvador Dalí]] who drew influence from ''[[Los caprichos]]'' and the ''[[Black Paintings]]'' of Goya.<ref>{{Cite web|url=https://www.theartstory.org/artist/goya-francisco/|title=Francisco Goya Paintings, Bio, Ideas|website=The Art Story|access-date=26 April 2020}}</ref> In the 21st century, American postmodern painters such as [[Michael Zansky]] and [[Bradley Rubenstein]] draw inspiration from "The Dream of Reason Produces Monsters" (1796–98) and Goya's ''[[Black Paintings]]''. Zanksy's "Giants and Dwarf Series" (1990–2002) of large-scale paintings and wood carvings use imagery from Goya.<ref>{{Cite book|last=Kuspit|first=Donald|title=Michael Zansky: Bosch for Today|publisher=Charta|year=2014|isbn=978-1-938922503|location=Milano|pages=7–19}}</ref><ref>{{Cite web|url=https://whitehotmagazine.com/articles/zansky-s-van-gogh-portraits/4093|title=Donald Kuspit on Michael Zansky's Van Gogh Portraits|last=Kuspit|first=Donald|website=White Hot Magazine of Contemporary Art}}</ref>

Goya's influence has extended beyond the visual arts:

* The Spanish composer [[Enrique Granados]] wrote a suite for solo piano in 1911 based on Goya's paintings called ''[[Goyescas]]'', and later wrote [[Goyescas (opera)|an opera]] of the same name based on the suite.
*Spanish author [[Fernando Arrabal]]'s novel ''The Burial of the Sardine'' was inspired by Goya's painting.<ref>{{cite journal |last1=Guicharnaud |first1=Jacques |title=Forbidden Games: Arrabal. |journal=Yale French Studies |date=1962 |issue=29 |pages=116–119 |doi=10.2307/2929043 |jstor=2929043 |url=http://www.jstor.org/stable/2929043 |access-date=27 July 2020|url-access=subscription }}</ref>
* Russian poet [[Andrei Voznesensky]]'s ''I Am Goya'' was inspired by Goya's anti-war paintings.<ref>{{cite news |last1=Anderson |first1=Raymond H |title=Andrei Voznesensky, Russian Poet, Dies at 77 |url=https://www.nytimes.com/2010/06/02/books/02voznesensky.html |access-date=27 July 2020 |work=The New York Times |date=1 June 2010}}</ref>
* The video game Impasto was based on the works of Goya.<ref>{{cite web | url=https://store.steampowered.com/app/1908240/Impasto/ | title=Impasto on Steam }}</ref>
In 2024, an extensive exhibition of Goya's etchings was held at the [[Norton Simon Museum]] in Southern California.<ref>{{Cite web |last=Christ |first=Emma |date=2024-07-24 |title=GALLERY ROUNDS: Francisco de Goya |url=https://artillerymag.com/gallery-rounds-francisco-de-goya/ |access-date=2024-07-26 |website=Artillery Magazine |language=en-US}}</ref>

==Films and television==
* ''Goya: Crazy Like a Genius'' (2002), a documentary by Ian MacMillan, presented by [[Robert Hughes (critic)|Robert Hughes]]
* ''[[Goya's Ghosts]]'' (2006), directed by [[Miloš Forman]]
* ''[[Volavérunt]]'' (1999), directed by [[Bigas Luna]] and based on the novel by [[Antonio Larreta]]
* ''[[Goya in Bordeaux]]'' (1999), Spanish historical drama film written and directed by [[Carlos Saura]] about the life of Francisco de Goya
* ''[[Goya or the Hard Way to Enlightenment]]'' (1971) (German: ''Goya – oder der arge Weg der Erkenntnis'') is a 1971 East German drama film directed by [[Konrad Wolf]]. It was entered into the 7th Moscow International Film Festival where it won a Special Prize. It is based on a novel with the same title by Lion Feuchtwanger.
* ''[[The Naked Maja (film)|The Naked Maja]]'' (1958), directed by [[Henry Koster]]. A film about the painter Francisco Goya and the [[Duchess of Alba]]; [[Anthony Franciosa]] played Goya and [[Ava Gardner]] played the Duchess.
* ''Tiempo de ilustrados (Time of the Enlightened)'' in the series ''[[El ministerio del tiempo|The Ministry of Time]]''.  Goya (played by Pedro Casablanc) must repaint ''[[La maja desnuda]]'' after a cult called the Exterminating Angels destroy it.

==See also==

* [[Francisco Goya's tapestry cartoons]]
* [[List of works by Francisco Goya]]

==References==
===Footnotes===
{{notelist-ua}}

=== Citations ===
{{Reflist}}

==Further reading==
* [[Jeannine Baticle|Baticle, Jeannine]]. ''Goya: Painter of Terrible Splendor'', "[[Découvertes Gallimard|Abrams Discoveries]]" series. New York: Harry N. Abrams, 1994
* Buchholz, Elke Linda. ''Francisco de Goya''. Cologne: Könemann, 1999. {{ISBN|3-8290-2930-6}}
* Cascardi, Anthony J. ''Francisco de Goya and the Art of Critique''. New York:  Zone Books, 2023.
* Ciofalo, John J. ''The Self-Portraits of Francisco Goya.'' Cambridge University Press, 2002
* Connell, Evan S. ''Francisco Goya: A Life''. New York: Counterpoint, 2004. {{ISBN|978-1-58243-307-3}}
* [[Eitner, Lorenz]]. ''An Outline of 19th Century European Painting''. New York: Harper & Row, 1997. {{ISBN|978-0-0643-2977-4}} 
* Gassier, Pierre. ''Goya: A Biographical and Critical Study''. New York: Skira, 1955
* Gassier, Piere and Juliet Wilson. ''The Life and Complete Work of Francisco Goya''. New York 1971.
* Glendinning, Nigel. ''Goya and his Critics''. New Haven 1977.
* Glendinning, Nigel. "The Strange Translation of Goya's Black Paintings". ''The Burlington Magazine'', Volume 117, No. 868, 1975 
* Hagen, Rose-Marie & Hagen, Rainer. ''Francisco Goya, 1746–1828''. London: Taschen, 1999. {{ISBN|978-3-8228-1823-7}}
* Havard, Robert. "Goya's House Revisited: Why a Deaf Man Painted his Walls Black". ''Bulletin of Spanish Studies'', Volume 82, Issue 5 July 2005
* Hennigfeld, Ursula (ed.). ''Goya im Dialog der Medien, Kulturen und Disziplinen.'' Freiburg: Rombach, 2013. {{ISBN|978-3-7930-9737-2}}
* Hilt, Douglas. "Goya: Turmoils of a Patriot" ''History Today'' (Aug 1973), Vol. 23 Issue 8, pp 536–545, online
* [[Robert Hughes (critic)|Hughes, Robert]]. ''Goya''. New York: Alfred A. Knopf, 2004. {{ISBN|978-0-394-58028-9}}
* Junquera, Juan José. ''The Black Paintings of Goya''. London: Scala Publishers, 2008. {{ISBN|1-85759-273-5}}
* Kravchenko, Anastasiia. ''Mythological subjects in Francisco Goya's work''. 2019
* Licht, Fred S. ''Goya in Perspective''. New York 1973.
* Licht, Fred. ''Goya: The Origins of the Modern Temper in Art''. Universe Books, 1979. {{ISBN|0-87663-294-0}}
* Litroy, Jo. ''Jusqu'à la mort''. Paris: [[Éditions du Masque|Editions du Masque]], 2013. {{ISBN|978-2702440193}}
* Martín-Estudillo, Luis. ''Goya and the Mystery of Reading''. Nashville: Vanderbilt University Press, 2023. {{ISBN|082-6505325}}
* [[Hisham Matar|Matar, Hisham]] and [[Xavier Salomon|Salomon, Xavier]]. ''Goya's'' Forge. [[The Frick Collection]], 2025. {{ISBN|978-1-913875-52-7}}
* Symmons, Sarah. ''Goya: A Life in Letters''. Pimlico, 2004. {{ISBN|978-0-7126-0679-0}} 
* Tomlinson, Janis. ''Francisco Goya y Lucientes 1746–1828''. London: Phaidon, 1994. {{ISBN|978-0-7148-3844-1}}
* Tomlinson, Janis. "Burn It, Hide It, Flaunt It: Goya's Majas and the Censorial Mind". ''The Art Journal'', Volume 50, No. 4, 1991

==External links==
{{Commons and category|Francisco de Goya y Lucientes|Francisco de Goya y Lucientes}}
{{Wikiquote|Francisco Goya}}
* [https://www.thegreatcat.org/cats-enlightenment-part-16-cats-art-francisco-goya/ Francisco Goya's Cats]
* [http://www.franciscogoya.com www.FranciscoGoya.com]
* [https://web.archive.org/web/20130116114526/http://www.fundaciongoyaenaragon.es/goya/obra/catalogo/ Goya in Aragon Foundation: Online catalogue]
* [http://www.milagrosproducciones.com/goya/ ''Goya, the Secret of the Shadows''] {{Webarchive|url=https://web.archive.org/web/20110816012644/http://www.milagrosproducciones.com/goya/ |date=16 August 2011 }}, a documentary film by David Mauas, Spain, 2011, 77'
* [https://www.youtube.com/watch?v=xZ9WNFV4ggM Goya: The Most Spanish of Artists, Museum of Fine Arts, Boston]
* {{cite book |url= http://www.gasl.org/refbib/Goya__Caprichos.pdf |title= ''Caprichos'' |access-date= 27 March 2005 |archive-date= 30 October 2008 |archive-url= https://web.archive.org/web/20081030093518/http://www.gasl.org/refbib/Goya__Caprichos.pdf |url-status= dead }}&nbsp;{{small|(10.0&nbsp;[[Megabyte|MB]])}} (PDF in the [http://www.gasl.org/as/referenz Arno Schmidt Reference Library] {{Webarchive|url=https://web.archive.org/web/20081120163008/http://www.gasl.org/as/referenz/ |date=20 November 2008 }})
* {{cite book |url= http://www.gasl.org/refbib/Goya__Guerra.pdf |title= ''Desastres de la guerra'' |access-date= 27 March 2005 |archive-date= 20 November 2008 |archive-url= https://web.archive.org/web/20081120162501/http://www.gasl.org/refbib/Goya__Guerra.pdf |url-status= dead }}&nbsp;{{small|(10.6&nbsp;[[Megabyte|MB]])}} (PDF in the [http://www.gasl.org/as/referenz Arno Schmidt Reference Library] {{Webarchive|url=https://web.archive.org/web/20081120163008/http://www.gasl.org/as/referenz/ |date=20 November 2008 }})
* [https://web.archive.org/web/20090601115748/http://djelibeibi.unex.es/libros/Goya/ Etching series by Goya]
* {{Cite EB1911 |wstitle= Goya y Lucientes, Francisco |volume = 12 |page=303 |short=1}}
* {{usurped|1=[https://web.archive.org/web/20140725161843/http://www.artwis.com/articles/his-majestys-giant-anteater-a-new-goya-is-discovered/ "His Majesty's Giant Anteater – A New Goya is Discovered!"]}}
* [http://bibliotheque-numerique.inha.fr/collection/?r=Top%2Fdl_category%2Festampes%2Festampes+de+francisco+de+goya+%281746-1828%29&navigation=0 Bibliothèque numérique de l'INHA – Estampes de Francisco de Goya]
* [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/69630 ''Goya in the Metropolitan Museum of Art''], an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)
* [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/94303/rec/1 ''Prints & People: A Social History of Printed Pictures''], an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains a significant amount of material on the prints of Goya
* [http://ccdl.libraries.claremont.edu/cdm/landingpage/collection/fgp Francisco Goya Prints] in the Claremont Colleges Digital Library
* [http://www.eeweems.com/goya/subastas.html Goya hidden micro-signatures, a revolutionary discovery]
* [https://www.parkwestgallery.com/francisco-goya-disasters-of-war/ A Closer Look at Francisco Goya's 'Disasters of War' (Spanish title: 'Los Desastres de la Guerra')]
* [https://www.nga.gov/exhibitions/goya-0 Goya] an exhibition organized by the Fundación Amigos del Museo del Prado, the Museo Nacional del Prado, Madrid (exhibited 30 October 2001–9 February 2002), and the [[National Gallery of Art]], Washington, D. C. (exhibited 10 March–2 June 2002)
* [https://www.metmuseum.org/exhibitions/listings/2014/goya Goya and the Altamira Family] 2014 exhibition at the Metropolitan Museum of Art
* [https://www.nationalgallery.org.uk/exhibitions/past/goya-the-portraits Goya: The Portraits] 2015 exhibition at the [[National Gallery]], London
* [https://www.metmuseum.org/exhibitions/listings/2020/goyas-graphic-imagination Goya’s Graphic Imagination] 2021 exhibition at the Metropolitan Museum of Art; catalog by Mark McDonald {{ISBN|978-1-588-39714-0}}

{{Goya}}
{{Romanticism}}
{{Authority control (arts)|country=ES}}

{{DEFAULTSORT:Goya, Francisco}}
[[Category:Francisco Goya| ]]
[[Category:1746 births]]
[[Category:1828 deaths]]
[[Category:18th-century Spanish painters]]
[[Category:18th-century Spanish male artists]]
[[Category:19th-century Spanish painters]]
[[Category:19th-century Spanish male artists]]
[[Category:Painters from Aragon]]
[[Category:Court painters]]
[[Category:Deaf artists]]
[[Category:Spanish deaf people]]
[[Category:People from the Province of Zaragoza]]
[[Category:Royal Order of Spain members]]
[[Category:Spanish battle painters]]
[[Category:Spanish people of Basque descent]]
[[Category:Spanish printmakers]]
[[Category:Spanish Roman Catholics]]
[[Category:Spanish romantic painters]]
[[Category:Spanish satirists]]
[[Category:Satirical painters]]
[[Category:Romantic painters]]
[[Category:Spanish fantasy artists]]
[[Category:Spanish horror artists]]
[[Category:Spanish war artists]]