when did fransico de goya marry
Goya’s mother’s side of the family, the Lucientes, were minor nobility who lived in Fuendetodos, where they owned land which they themselves cultivated. The branch of the family from which Goya descended came from the village of Uncastillo, where they had lived since the Middle Ages. Miguel Lucientes y Navarro, the father of Gracia, the painter’s mother, occupied the post of Village Mayor for a period of time and also lived from time to time in Zaragoza.
After their marriage in 1736 in Zaragoza, Jose and Gracia had six children: Rita (1737), the eldest, who would look after her parents in their old age.; Tomas(1739), who became a gilder like his father; Jacinta (1743), who died at the age of 7; Francisco (1746), the painter; Mariano (1750), who died while still a child, and Camilo (1752) who, after his ecclesiastical studies at the University of Zaragoza, became chaplain of Chinchón, near Madrid.
It was while at the farmhouse, which was his studio that he painted portraits of friends and relations including his вЂSelf-PortraitsвЂ™ (1815). In seclusion, he also created a number of religious compositions such as the вЂAgony in the Garden and The Last Communion of St. Joseph of CalasanzвЂ™ (1819). Unlike his earlier church paintings, these were seen as being as representative of sincere devotion.
By 1808, Goya was at the height of his career. However, it was also the time when the Spanish ruler Charles IV and his son Ferdinand were forced to abdicate as the armies of Napoleon entered Spain. With NapoleonвЂ™s brother Joseph on the throne, Goya was able to retain his position as a painter in the royal court. During the course of the war, he painted portraits of both Spanish and French generals. Equally, he also painted a portrait of the Duke of Wellington in 1812. As a commentator of the time, Goya produced a set of etchings known as the Disasters of War that recorded his reactions to the war and its horrors and consequences. His drawings were not one of documentary realism but were instead dramatic compositions that reflected the brutal details and authenticity of the time.
In 1789 he was made court painter to Charles IV and in 1799 he was appointed First Court Painter with a salary of 50,000 reales and 500 ducats for a coach. He painted the King and the Queen, royal family pictures, portraits of the Prince of the Peace and many other nobles. His portraits are notable for their disinclination to flatter, and in the case of Charles IV of Spain and His Family, the lack of visual diplomacy is remarkable. Modern interpreters have seen this portrait as satire; it is thought to reveal the corruption present under Charles IV. Under his reign his wife Louisa was thought to have had the real power, which is why she is placed at the center of the group portrait. From the back left of the painting you can see the artist himself looking out at the viewer, and the painting behind the family depicts Lot and his daughters, thus once again echoing the underlying message of corruption and gat.
In 1783, the Count of Floridablanca, a favourite of King Carlos III, commissioned Goya to paint his portrait. He also became friends with Crown Prince Don Luis, and spent two summers with him, painting portraits of both the Infante and his family. During the 1780s, his circle of patrons grew to include the Duke and Duchess of Osuna, whom he painted, the King and other notable people of the kingdom. In 1786, Goya was given a salaried position as painter to Charles III. After the death of Charles III in 1788 and revolution in France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.
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 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 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.
Other works from the period include a canvas for the altar of the Church of San Francisco El Grande in Madrid, which led to his appointment as a member of the Royal Academy of Fine Art.
Goya also used his art record moments of the country’s history. In 1808, France, led by Napoleon Bonaparte, invaded Spain. Napoleon installed his brother Joseph as the country’s new leader. While he remained a court painter under Napoleon, Goya created a series of etchings depicting the horrors of war. After Spanish royalty regained the throne in 1814, he then painted “The Third of May,” which showed to the true human costs of war. The work depicted the uprising in Madrid against French forces.
In 1792, Goya became completely deaf after suffering from an unknown malady. He started to work on non-commissioned paintings during his recovery, including portraits of women from all walks of life. His style changed somewhat as well.