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Francisco Goya Francisco Goya Images 2 1 3 6 5 4 8 9 7 10 11 12 15 13 14 v For Educational Purposes Only Revised 09/12 1 Francisco Goya The Presentation 1. Goya in His Studio 1790-5, oil on canvas, 16-1/2” x 11”, Real Academia de Bellas Artes de San Fernando, Madrid Goya painted this self-portrait at a time when he was the most sought-after portrait painter among the aristocracy in Madrid. He painted himself at work at his easel, wearing an unusual hat, with metal candlesticks around its crown. A biographer later explained the hat, saying that Goya applied the final touches of a painting by candlelight at night, preferring the better effect of a painting rendered by artificial light. Goya has given his own shape emphasis through the use of several devices. First, he placed himself, full-length, in the center of the canvas. His entire height stretches almost the entire height of the painting. Second, he has placed himself in front of a bright window. The value changes between the bright light How does Goya at the window and his darker shape create the contour edges that define his emphasize himself shape. The darker values of his clothing and hat are all the more visible and in this composition? emphasized because they contrast with the bright values of the background. 2. The Parasol 1777, oil on canvas, 39” x 59-1/8”, Museo del Prado, Madrid In this painting, a cartoon for one of his tapestry designs, Goya painted a genre scene that illustrated a moment from everyday life in Madrid. The tapestry created from this painting was intended for a wall above a door, which is why Goya painted his female subject in a position from which she could look down on the observer. Her companion uses the parasol to protect her delicate skin from the sun, and in her hand, she holds a fan, not only an indispensable tool for creating a cool current of air on a warm day, but also a tool used by women for communication. Every opening and Where do you see areas of closing of the fan had significance. In a language known at every level of light and dark contrast? society, the fanʼs movements could give a secret sign of encouragement to a hopeful suitor or indicate her lack of interest. Goya created visual interest and emphasis on his subjects by placing them, with the vivid colors of their clothing, against a subdued background of contrasting values. The young woman stands out because her bright clothing contrasts with the darker value of the wall behind her, as does her fan, the tool she uses to flirtatiously communicate. The young man is emphasized because the shape of his arm and lower body, appearing darker for the shadow cast upon him by the parasol, stands before the lighter values of a cloudy background. Value contrasts in the background also create visual lines which bring the viewerʼs eye back to the young couple. If one looks at the upper left hand corner of the painting, the value contrasts between the dark wall and the clouds in the distance create a line that leads the eye directly back to the face of the woman. If the eye wanders out to the upper right hand corner of the painting, the value contrast between the dark tree branches and the blue sky create a line that lead the eye back again to the couple at the center of the painting. For Educational Purposes Only Revised 09/12 2 Francisco Goya 3. SCANNING: Don Manuel Osorio Manrique de Zuñiga 1788, oil on canvas, 50” x 40”, Metropolitan Museum of Art, New York Goya always had a special affinity for children (his wife gave birth many times, but only the last-born survived). As his reputation as a portraitist grew, it was not unusual that his wealthy patrons wanted portraits, not only of themselves, but also of their heirs. This portrait of four-year-old Manuel Osorio is one of Goyaʼs most famous works. Emphasis has been created by positioning the boy, full-length, in the center of the canvas, taking up almost the entire height of the painting. The indistinct background provides a negative shape surrounding the positive and dominant shape of the boy. His is obviously the most important shape in the painting. Why did Goya use Value contrasts also work to create emphasis in this painting. The vivid red of the bright red for the boyʼs suit contrasts against the darker values of the indistinct background, boyʼs clothing? making him stand out. His red suit also contrasts with the pale skin of his face, emphasizing his delicate features. The brighter area of background behind the boyʼs head contrasts with the darker value of his dark hair, further emphasizing his head. And, even though it is placed in the dark background in the lower left corner of the painting, the light fur and bright eyes of the cat give it enough emphasis to draw our attention. [Note: Goyaʼs signature is on the card held in the birdʼs beak.] For Educational Purposes Only Revised 09/12 3 Francisco Goya Scanning Questions Don Manuel Osorio de Manrique Zuñiga 1788, oil on canvas, 50” x 39-3/4”, Metropolitan Museum of Art New York Art Elements: What you see. Shape • How many different shapes can you see in this painting? (The boy, the cats, birds and a birdhouse.) Which shape is geometric? (The birdhouse.) • Shapes can be positive or negative. Where is a positive shape? (The boy.) Where is a negative shape? (The background behind the boy.) Value • What are the areas of the painting with the lightest values? (The boyʼs face and collar, the area behind the boyʼs head, the shiny sash around his waist, his shoes, the white fur on the cat, the white feathers on the bird.) • Where are darker values? (In the background behind the boyʼs body, his hair.) • Why do you suppose the boy was painted wearing a red suit instead of a black suit? (The red suit is brighter than the darker background. It has a stronger value, and stands out more.) Art Principles: How the elements are arranged. Contrast • Where do you see areas of value contrast? (The boyʼs dark hair against the area of lighter background; the boyʼs pale face next to his dark hair.) • Can you point out areas where textures are contrasted? (The silvery sash around the boyʼs waist and his lacy collar next to the cloth of his suit; the catsʼ fur near the birdʼs feathers.) Emphasis • What is the most important shape in this painting? (The boy.) How did Goya place emphasis on the boy? (He is dressed in a bright red suit; he stands before a darker background; he is placed in the center of the painting; he stands in front of the other shapes in the painting; his is the largest shape in the painting.) • How do we know that the cats are not the most important elements in this painting? (They are smaller in size and placed behind the boy; their dark shapes do not contrast much with the dark background.) Technical Properties: How it was made. • What materials did the artist use to create this work? (Oil paints and brushes, canvas.) • How big do you think this painting is? (50” x 39-3/4”.) Expressive Properties: How it makes you feel. • How does this painting make you feel? • What do you think the boy is feeling? Does he look happy or sad? Is he having fun, or is he bored? For Educational Purposes Only Revised 09/12 4 Francisco Goya 4. Portrait of the Duchess of Alba 1797, oil on canvas, 83” x 57-7/8”, The Hispanic Society of America, New York The Duchess of Alba was one of the most famous, fascinating, and beautiful women in Spain, and she became Goyaʼs most famous model. This portrait of the young widow was most likely painted during Goyaʼs stay at the Duchessʼs country home, and remained in his possession throughout his life. In this painting, Goya painted the Duchess wearing the black dress of a maja (a fashionable young woman from the working-class neighborhoods of Madrid, whose brash style was the rage among the aristocracy). Not only does she stand full-length, the only positive shape in the painting, but she is also emphasized by the value contrasts between her dark clothing and the lighter indistinct background behind. Value contrasts between her dark hair and mantilla (lacy head scarf) and her bright skin draw our attention to her face. Which is the The light source is obviously to her right, placing the left side of her face in shadow. positive shape in Goya achieves this shadow by the use of value changes to create the shaded this painting? contours of her face. Further down on the Duchessʼs skirt, the light values of her hand contrasted against the black of her skirt provide the contours that define the shape of her hand, emphasizing the fact that she points to something on the floor [Uncovered during a modern-day cleaning, the words “solo (ʻonlyʼ) Goya” appear painted on the floor at her feet, suggesting that perhaps Goya and the Duchess were lovers.] 5. Clothed Maja c. 1800, oil on canvas, 37-3/8” x 74-3/4”, Museo del Prado, Madrid This painting was one of a pair of works, in which the same woman was painted in the same pose, clothed in one painting and naked in the other.
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