| Portrait of Manuel Godoy | |
|---|---|
 | |
| Artist | Francisco Goya |
| Year | 1801 |
| Medium | Oil on canvas |
| Dimensions | 180 cm× 267 cm(71 in× 105 in) |
| Location | Real Academia de Bellas Artes de San Fernando, Madrid |
Portrait of Manuel Godoy is a large 1801 oil-on-canvas painting by the Spanish artist Francisco de Goya, now in the Real Academia de Bellas Artes de San Fernando. It was commissioned by the Spanish Prime Minister Manuel Godoy to commemorate his victory in the brief War of the Oranges against Portugal.
In 1801 Godoy was the height of his power, having won in the War of the Oranges he was now Generalissimo of "land and sea" and "Prince of Peace"; pompous titles he willingly accepted. He and Goya were friends, Godoy owned two of the artist's portraits of Majas, which he may have commissioned. He was close to and held influence over the Charles IV of Spain's wife, Maria Luisa of Parma, and married into the royal family via the Countess of Chinchon, a cousin of the king. Goya had earlier portrayed Godoy in 1794 when he was Duke of Alcudia, with a small equestrian portrait. [1] His career ended in disgrace and after the Spanish War of Independence, after which he was banished to live in poverty. He died in exile in Paris in 1851. Despite his fall he continued to speak favourably for the artist, and in his memoirs referred to Goya's Caprichos with extreme favour, as if he himself had seen them published.
The portrait is an incisive psychological characterisation. The subject's self belief is depicted via his unusual reclining posture, the surrounding horses, and the phallic baton situated between his legs. [2] The painting metaphorically places Godoy sitting at the apex of the Spanish government. The artist captures Godoy's arrogance through his posture, and the inclusion of Portuguese flags. [3] The choice of lighting gives intensity to the piece.
Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of the late 18th and early 19th centuries. His paintings, drawings, and engravings reflected contemporary historical upheavals and influenced important 19th- and 20th-century painters. Goya is often referred to as the last of the Old Masters and the first of the moderns.
The Naked Maja or The Nude Maja is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida, also in the Prado, and usually hung next to La maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in La maja vestida.
María del Pilar Teresa Cayetana de Silva y Silva-Bazán, 13th Duchess of Alba, GE, was a Spanish aristocrat and a popular subject of the painter Francisco de Goya.
Don José Álvarez de Toledo Osorio y Gonzaga, 11th Marquess of Villafranca, Grandee of Spain, jure uxorisDuke of Alba de Tormes, Grandee of Spain was a patron of the artist Francisco Goya.
La maja vestida is an oil painting on canvas created between 1800 and 1807 by the Spanish Romantic painter and printmaker Francisco Goya. It is a clothed version of the earlier La maja desnuda, which was created between 1795 and 1800. The identity of the model and that of the commissioner have not been confirmed. However, art historians and scholars have suggested she is María Cayetana de Silva or Godoy's mistress Pepita Tudó.
The Colossus, is known in Spanish as El Coloso and also El Gigante, El Pánico and La Tormenta. It is a painting traditionally attributed to Francisco de Goya that shows a giant in the centre of the canvas walking towards the left hand side of the picture. Mountains obscure his legs up to his thighs and clouds surround his body; the giant appears to be adopting an aggressive posture as he is holding one of his fists up at shoulder height. A dark valley containing a crowd of people and herds of cattle fleeing in all directions occupies the lower third of the painting.
The Portrait of Doña Isabel de Porcel is an oil-on-canvas painting by the Spanish artist Francisco de Goya, painted around 1805. The portrait depicts Isabel Lobo Velasco de Porcel, who was born at Ronda around 1780 and was the second wife of Antonio Porcel. Isabel's husband was 25 years older than she; they met when she was 20 years old. Antonio Porcel was a liberal and associate of Manuel Godoy, Prince of Peace, who was a friend of Gaspar Melchor de Jovellanos, who in turn brought him in contact with Goya, who lived nearby; the painting is said to have been a gift from the artist in return for hospitality. A Goya portrait of Antonio Porcel, though much larger and so not a matching piece, was lost in a fire when the Jockey Club in Buenos Aires was destroyed in a riot in 1953.
Judith and Holofernes is the name given to one of the 14 Black Paintings painted by Francisco de Goya between 1819 and 1823. By this time, Goya was in his mid 70s and deeply disillusioned. In mental and physical despair, he painted the private works on the interior walls of his home—applying oils directly on plaster—known as the Quinta del Sordo, which he had purchased in 1819. Judith and Holofernes was likely painted on the first floor, beside Saturn Devouring His Son. The picture is a personal reinterpretation of the narrative of the Book of Judith, in which the protagonist saves Israel from the assault of the general Holofernes by seducing and beheading him. Judith is the only historical figure who can be identified with certainty among the Black Paintings.
A Pilgrimage to San Isidro is one of the Black Paintings painted by Francisco de Goya between 1819–23 on the interior walls of the house known as Quinta del Sordo that he purchased in 1819. It probably occupied a wall on the first floor of the house, opposite The Great He-Goat.
Two Old Men, also known as Two Monks or An Old Man and a Monk, are names given to one of the 14 Black Paintings painted by Francisco Goya between 1819-23. At the time Goya was in his mid-seventies and was undergoing a great amount of physical and mental stress after two bouts of an unidentified illness. The works were rendered directly onto the interior walls of the house known as Quinta del Sordo, which Goya purchased in 1819.
The Inquisition Tribunal, also known as The Court of the Inquisition or The Inquisition Scene, is a 46-by-73-centimetre oil-on-panel painting produced by the Spanish artist Francisco Goya between 1812 and 1819. The painting belongs to a series which also includes Bullfight, The Madhouse and A Procession of Flagellants, all reflecting customs which liberals objected to and wished were abandoned, but their reform was opposed by the absolutist (autocratic) policy of Ferdinand VII of Spain.
Los disparates, also known as Proverbios (Proverbs) or Sueños (Dreams), is a series of prints in etching and aquatint, with retouching in drypoint and engraving, created by Spanish painter and printmaker Francisco Goya between 1815 and 1823. Goya created the series while he lived in his house near Manzanares on the walls of which he painted the famous Black Paintings. When he left to France and moved in Bordeaux in 1824, he left these works in Madrid apparently incomplete. During Goya's lifetime, the series was not published because of the oppressive political climate and of the Inquisition.
The Black Paintings is the name given to a group of 14 paintings by Francisco Goya from the later years of his life, likely between 1819 and 1823. They portray intense, haunting themes, reflective of both his fear of insanity and his bleak outlook on humanity. In 1819, at the age of 72, Goya moved into a two-story house outside Madrid that was called Quinta del Sordo. Although the house had been named after the previous owner, who was deaf, Goya too was nearly deaf at the time as a result of an unknown illness he had suffered when he was 46. The paintings originally were painted as murals on the walls of the house, later being "hacked off" the walls and attached to canvas by owner Baron Frédéric Émile d'Erlanger. They are now in the Museo del Prado in Madrid.
The Portrait of the Duke of Wellington is a painting by the Spanish artist Francisco de Goya of the British general Arthur Wellesley, 1st Duke of Wellington, during the latter's service in the Peninsular War. One of three portraits Goya painted of Wellington, it was begun in August 1812 after the subject's entry into Madrid, showing him as an earl in an all-red uniform and wearing the Peninsular Medal. The artist then modified it in 1814 to show him in full dress uniform with black gold–braided lapels and to add the Order of the Golden Fleece and Military Gold Cross with three clasps.
Manuel de Godoy y Álvarez de Faria Ríos, 1st Prince of the Peace, 1st Duke of Alcudia, 1st Duke of Sueca, 1st Baron of Mascalbó, was the First Secretary of State of the Kingdom of Spain from 1792 to 1797 and then from 1801 to 1808, and as such, one of the central Spanish political figures during the rise of Napoleon and his invasion of Spain. Godoy came to power at a young age as the favourite of King Charles IV and Queen Maria Luisa. He has been partly blamed for the Anglo-Spanish War of 1796–1808 that brought an end to the Spanish Empire. Godoy's unmatched power ended in 1808 with the Tumult of Aranjuez, which forced him into a long exile, dying in Paris in 1851.
Portrait of Ferdinand Guillemardet is an oil painting by Francisco Goya, from 1798-1799. It depicts Ferdinand Guillemardet (1765-1809), the French ambassador to Spain between 1798 and 1800. It is held in the Louvre, in Paris.
The Drunk Mason is an oil on canvas painted by Francisco de Goya, then reputed painter of tapestries for the royal palaces. It belonged to the fifth series undertaken by Goya, and, like all the pieces that compose it, was painted between 1786 and 1787.
Self-Portrait at 69 years is an oil painting by the Spanish painter Francisco Goya. Two original versions of this work have been preserved. One of the paintings, painted on canvas, is housed in the collections of the Prado Museum. The other, created on wood panel, is located in the Real Academia de Bellas Artes de San Fernando in Madrid. Both paintings were created in 1815, in the post-war period, and depict a very similar image of the artist. This is one of the most sincere and direct self-portraits of the painter.
The tapestry cartoons of Francisco de Goya are a group of oil on canvas paintings by Francisco de Goya between 1775 and 1792 as designs for the Royal Tapestry Factory of Santa Barbara near Madrid in Spain. Although they are not the only tapestry cartoons made at the Royal Factory, they are much the best known. Most of them represent bucolic, hunting, rural and popular themes. They strictly adhered to the tastes of King Charles III and the princes Charles of Bourbon and Maria Luisa of Parma, and were supervised by other artists of the factory such as Maella and the Bayeu family. Most are now in the Museo del Prado, having remained in the Spanish Royal collection, although there are some in art galleries in other countries.
Media related to Manuel Godoy as General (Goya - Royal Academy of Fine Arts of San Fernando) at Wikimedia Commons