GOYA Y LUCIENTES, gO"ya A 1Tro'thie-an' tbs, FRANCISCO (1746-1828). The leading painter of the Spanish School in the eighteenth cen tury. He was born March 30 or 31, 1746, near Saragossa. According to one tradition, his family were peasants in extreme poverty; according to another, his father was a gilder, who was able to do something for the welfare of his son. At the age of twelve we find Francisco at Saragossa in the academy which Jos6. Lusan y Martinez, a painter of ability, who had studied in the Neapolitan School, had established. According to tradition, Goya was obliged to leave Saragossa on account of some escapade, and went to Madrid, where he was powerfully affected by the works of Velaz quez (q.v.). After some years in Madrid he went to Rome. He studied the Italian masters rather by contemplation than by actual copying, and in Rome, as everywhere, was most interested in the picturesque life of the people. In 1775 Goya re turned to Madrid. He was employed by Raphael Mengs, then Superintendent of Fine Arts in Ma drid, to design cartoons for the royal manufac tory of tapestries at Santa Barbara intermit tently until 1791. Some of these cartoons are in the Museum of the Prado. About 1780-81 he decorated a chapel of the Church of Santa Maria del Pilar at Saragossa, and between 1737 and 1798 he painted the decoration of the palace of Alankda near Madrid. Goya's most monumental work is the decoration of the Church of San Antonio de In Florida, near Manzanares, finished in 1798, a series of religious pictures from the life of Saint Anthony, in the manner of Tiepolo% This is the period of his greatest success. In 1788 he was made member by merit of the Academy of San Fernando in Madrid, and in the same year painter of the Chamber to the new King, Charles IV. Ten years later he was made chief painter of the Chamber. He was created Lieutenant Di rector of the Academy of San Fernando in the place of Andreas Calleja in 1793.
The insurrection of March 19, 1808, which ended the reign of Charles IV., interrupted the career of Goya. He endeavored to associate him self with the Bonapartes, even serving on the commission to select fifty of the best Spanish pictures for the Louvre. After a time, however,
the French occupation exasperated him. After the return of the Bourbon King Ferdinand VII. in 1813, Goya was reinstated as painter of the Chamber. His political views forced him to leave Spain, and in 1822 he visited Paris for the first time. With the exception of a short visit to Madrid in 1827, when his portrait was painted by his successor, Vicente Lopez, he passed the rest of his life at Bordeaux, where he died April 16, 1828.
The chief interest of Goya was with the lower classes. He loved a vagabond life, and even at the summit of his success was most often to be found in the resorts of the common people. From them were taken the motives and subjects for the immense mass of drawings, etchings, water-colors, genre pictures, and portraits which he left. His palette was very simple. He painted directly, without glazes. His brilliant style was unique, but his technical qualities were founded uporr a profound study of the great technicians of the seventeenth and eighteenth centuries. Goya was quite celebrated as a portrait painter, but his portraits were only good when the sub ject pleased him. Among his best portraits are one of himself, in the Academy of San Fer nando; a group of Charles IV. and his family, in the Prado; equestrian portraits of Charles IV. and his Queen, Maria Louisa, in the Prado. He appears at his best in the marvelous double portrait of "La Maya," in the Academy of San Fernando, representing a beautiful young girl, lightly draped. As an etcher, he is of almost equal importance. His series "Los Ca priehos" (Caprices) is a bitter satire upon gov ernment, religion, and society; "Los desastres de la guerra" (Disasters of War), the testament of a Liberal, and the "Tauromaquia" (Bull-Fight) are among the best of his series of etchings. All reveal a great master, both in technique and con ception, and the deep study of Rembrandt.
For his bibliography, consult: Yriarte (Paris, 1867) ; Lefort (ib.. 1877) ; Zapater y Gomez (Saragossa, 1868) ; Hamerton, in Portfolio (Lon don, 1879) ; Viiiaza (Madrid, 1887) ; and La fond, in Revue de l'Art, vol. v. (Paris, 1899).