\paperw19995 \margr0\margl0 \plain \fs20 \f1 Spanish painter and engraver.\b \par
\b0 Francisco JosΘ de Goya y Lucientes got his training in Saragossa from the painter
JosΘ Luzßn. In 1771, on his return from a journey to Italy, he received his first important commission for the frescoes in the church of Nuestra Se±ora del Pilar at Saragossa, which are still based on baroque models. In 1774 he moved to Madrid, where he
was given the job of producing sketches for the Royal Tapestry Manufactory of Santa Barbara. Including \i The Parasol\i0 (1777, Madrid, Prado), the more than sixty paintings he produced for the manufactory over the course of eighteen years met with the
favor of the court, and in 1789 he was appointed \i pintor de cßmara\i0 , or court painter, to King Charles IV. During the last two decades of the century he painted many portraits of members of high society, represented with disconcerning psychological
penetration and in a brilliant range of colors. Examples of this include the \i Family of the Infante Don Luis\i0 (1783, Corte di Mamiano, Parma, Fondazione Magnani-Rocca), \i The Duke and Duchess of Osuna with their Children\i0 (1788, Madrid, Prado),
\i Ferdinand Guillemardet\i0 (1798, Paris, Louvre), and \i La Tirana\i0 (1799, Madrid, Academia de San Fernando). After a serious illness in 1792, which deprived him of his hearing, Goya painted the extraordinary frescoes in the shrine of San Antonio d
e la Florida at Madrid (1798). At the same time, he devoted more and more of his energy to small pictures representing scenes of madness, fanaticism, and witchcraft. In the etchings of the \i Caprichos\i0 (1799) he made an imaginative attack on all kind
s of superstition, wickedness, and oppression. Appointed principal painter to the king in 1799, Goya painted the celebrated \i Family of Charles IV\i0 (1800-01, Madrid, Prado) and several splendid portraits of women, like \i Do±a Isabel Cobos de Porcel
\i0 (1806, London, National Gallery) and the \i Maja desnuda\i0 and \i Maja vestida\i0 (1803-06, Madrid, Prado). His etchings of the \i Disasters of War\i0 and the canvas representing \i The Execution of May 3, 1808\i0 (1814, Madrid, Prado) dramatica
lly evoke the struggle against NapoleonÆs troops and the martyrdom of the Spanish people, in a condemnation of all war and violence. During the years of the Restoration, the artist withdrew to his country house called the ôQuinta del sordo,ö near Manzana
rre, where he painted the walls with the tragic and obsessive images of his ôblack paintingsö (now in Madrid, Prado), a reflection of the visions of an anguished mind. In 1824 he moved to Bordeaux, where he painted the delicate \i Milkmaid of Bordeaux
