where was fransisco de goya y luciafrom
And suddenly he remembered her as he had the first time. Suddenly he realized how to convey this shimmering, iridescent, flowing silvery-gray scale, which opened to him then. It’s not the background, not the white lace on the yellow dress. This line needs to be softened, this one too, so that the tone of the body and the light that goes by the hand, from the person, play. A trifle, but in this trifle everything. Now everything turned out the way it should be.
Portrait of Francisco Baieu by Francisco de Goya Francisco Bayeu was the brother-in-law of Goya. He, too, was an artist whose young Goya was beginning to learn and who all his life urged him to write on the.
Variously described as a “wayward genius” and the “Father of Modern Art” in whose works “.one sees a sincere realism which forgives nothing and forgets nothing of the subject”, The Third of May 1808 in Madrid: The Executions on Principe Pio Hill (1814) is regarded as Goya’s greatest painting, depicting a horrific scene during Spain’s War of Independence against French invasion in 1808. Although Napoleon’s army had been expelled from Spain , Goya harboured intense hatred against them which was to colour his personal interpretations of war.
The 3rd of May (1814) Goya’s greatest work shows his glorious uprising against the tyrant of Europe
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 Velázquez. Goya had a complicated relationship to 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.  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.  His c. 1779 etching of The Garrotted Man (“El agarrotado”) was the largest work he had produced to date, and an obvious foreboding of his later “Disasters of War” series. 
He was guarded, and although letters and writings survive, little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him deaf, after which his work became progressively darker and pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, and contrast with his social climbing. He was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799 Goya became Primer Pintor de Cámara, 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 1801 he painted Charles IV of Spain and His Family, also influenced by Velázquez.
A third of the exhibition covers Manet’s Spanish manner, before and after his trip to Spain. The rest is composed of artworks by his elders, contemporaries and friends, preceded by a few of the Spanish paintings admired by French artists during the nineteenth century. Goya features prominently, as Velázquez’s heir and the last great court painter, well-known as early as the romantic period for his Fancies that inspired Delacroix and later on Constantin Guys and Manet.
Spanish art, little-exhibited in France before the Revolution, entered the Louvre after the Napoleonic wars in 1814-1815, with masterpieces by Ribera, Murillo and Zurbaran later returned to Madrid following the Vienna Congress.
Genuine familiarity in France came with Louis-Philippe’s Galerie espanole (Spanish Gallery), installed in the Louvre from 1838 to 1848, featuring over 400 paintings (later dispersed in London in 1853). Works by Goya, including the Youngs (Palais des Beaux Arts de Lille) and the Majas at the Balcony, could be admired, but the revelation was Zurbaran, above all his Saint Francis Meditating (London, National Gallery) above all. Two paintings by Corot (Musée du Louvre) and Manet (Fine Arts Museum, Boston) were directly inspired by it.
Returning from a short stay in Madrid on September 14, 1865, Manet wrote to Baudelaire that Vélázquez “is the greatest painter there ever was”. Fascinated by Spain, Manet wanted to judge for himself the artist’s work mostly exhibited at the royal museum in Madrid.
The loans granted by the Metropolitan Museum of Art, co-organiser of the exhibition, are particularly important concerning both Spanish art and Manet.
They allow visitors to follow the artist’s progress through the Salons that preceded his trip to Spain, with the Guitarero of the 1861 Salon, the two paintings that surrounded Lunch on the Grass at the Salon des Refusés of 1863 – Mlle Victorine in the Costume of an Espada and Young Man in the Costume of a Majo –, the Christ with Angels of the 1864 Salon, as well as the Child with Sword of 1861, about which Zola wrote : “It is said that Edouard Manet is related to the Spanish masters, he has never made it so clear as in Child with Sword.”