b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, Goya is considered the 18th Century's foremost painter and etcher of Spanish culture, known for his realistic scenes of battles, bullfights and human corruption. Goya lived during a time of upheaval in Spain that included war with France, the Inquisition, the rule of Napoleon's brother, Joseph, as the King of Spain and, finally, the reign of the Spanish King Ferdinand VII. Experts proclaim these events -- and Goya's deafness as a result of an illness in 1793 -- as central to understanding Goya's work, which frequently depicts human misery in a satiric and sometimes nightmarish fashion. From the 1770s he was a royal court painter for Charles III and Charles IV, and when Bonaparte took the throne in 1809, Goya swore fealty to the new king. When the crown was restored to Spain's Ferdinand VII (1814), Goya, in spite of his earlier allegiance to the French king, was reinstated as royal painter. After 1824 he lived in self-imposed exile in Bordeaux until his death, reportedly because of political differences with Ferdinand. Over his long career he created hundreds of paintings, etchings, and lithographs, among them Maya Clothed and Maya Nude (1798-1800); Caprichos (1799-82); The Second of May 1808 and The Third of May 1808 (1814); Disasters of War (1810-20); and The Black Paintings (1820-23).  Related Paintings of Francisco de goya y Lucientes :. | Memory like a half-length | The Miracle of St Anthony | La Tirana | The Fall | A Lunatic behind Bars |
Related Artists:
Vecchietta
Italian Early Renaissance Painter and Sculptor, ca.1410-1480 Italian painter, sculptor, goldsmith and architect. He was formerly believed to have been born c. 1412 in the Tuscan town of Castiglione d'Orcia, but del Bravo has identified him with the Lorenzo di Pietro di Giovanni who was baptized in Siena in 1410. His name appears in a list of the members of the Siena painters' guild in 1428. From the evidence of later works he is generally supposed to have been apprenticed to Sassetta, but his early work has not been identified. Between c. 1435 and 1439 he executed for Cardinal Branda Castiglione (1350-1443) a series of frescoes at Castiglione Olona, near Varese in Lombardy. He has been considered an assistant of MASOLINO DA PANICALE in this enterprise, but the scenes of the martyrdoms of SS Lawrence and Stephen in the apse of the Collegiata, below Masolino's vault frescoes, show that Vecchietta's closely packed compositional style was already fully formed. He also painted the frescoes (partially published by Bertelli) in the chapel of the Cardinal's palace in the town, depicting the Evangelists (vault) and friezes of male and female saints (side walls). Although abraded and fragmentary, they nevertheless indicate the naturalistic effects of atmospheric lighting and foreshortening that, more than any other Sienese painter of his day, he had learnt from Masolino and the Florentine painters.
th. hildebrandt
Ferdinand Theodor Hildebrandt, född 2 juli 1804 i Stettin, död 29 september 1874 i Dusseldorf, var en tysk målare. Hildebrandt började sina konstnärliga studier i Berlin under Wilhelm Schadow, vilken han 1826 följde till Dusseldorf, och blev en av den där grundade skolans mest framstående lärjungar. 1825 framträdde han med Faust, 1826 med Cordelia och kung Lear och 1828 med Tankred döpande Klorinda. Ännu större popularitet vann han 1835 för Mordet på kung Edvards söner. Bland hans genrebilder har i synnerhet Krigaren och hans son (1832, Berlins nationalgalleri) blivit känd. Hildebrandt, som för övrigt utförde illustrationer och porträtt, kallades på sin tid realist, men han var knappast fri från den melodramatiska ton och den sentimentala inställning, som tillhörde skolan.
Richard Caton Woodville
1856 - 1927 was an English artist and illustrator, who is best known for being one of the most prolific and effective painters of battle scenes in the late nineteenth, and early twentieth centuries. The son of American Richard Caton Woodville (The First), who was also a talented artist, Woodville studied at the Dusseldorf School under the great Prussian military artist Wilhelm Camphausen, and then Eduard von Gebhardt, before briefly studying in Russia and then Paris under Gerome. Woodville spent most of his career working for the Illustrated London News where he quickly developed a reputation as a talented reporter and writer, but was also published in Cornhill Magazine, Strand Magazine, and The Tatler. Richard Caton Woodville first experienced battle first-hand when he was sent by the Illustrated London News to report upon the Russo-Turkish War (1877 C 1878), and then again in the 1882 Anglo-Egyptian War where he made numerous sketches, and also obtained photographs of the trenches at Tel-e-Kebir for his friend and co-artist Alphonse-Marie-Adolphe de Neuville whom had been commissioned to paint a scene of the battle. In 1879 Woodville's Before Leuthen, Dec 3rd, 1757 was exhibited in the Royal Academy. It proved popular, and afterwards he began to regularly be exhibited in Burlington House, where 21 of his battle paintings were eventually shown. His most popular works there were ones that dealt with contemporary wars, such as the Second Anglo-Afghan War, Candahar [sic], and Maiwand, Saving the Guns (Walker Art Gallery), the Zulu War, and the First Boer War. His works from Egypt were exhibited at the Fine Art Society in 1883, where his painting The Moonlight Charge at Kassassin proved very popular. The following year he exhibited by Royal Command another painting he had done of the war in Egypt, entitled The Guards at Tel-e-Kebir (Royal Collection). He continued to paint scenes of battle, and few battles or wars that Great Britain fought during his life were not touched upon by him, including the Second Boer War, and World War I. Despite his precocious talent for capturing the dramatic moments of contemporary battles, Woodville also enjoyed recreating historical scenes in both oil, and watercolour. The Illustrated London News commissioned him to complete a commemorative special series recreating the most famous British Battles of history. He depicted The Charge of the Light Brigade (Royal Collection, Madrid) and The Charge of the 21st Lancers at Omdurman (Walker Art Gallery), Battle of Blenheim, Battle of Badajos and several Battle of Waterloo pictures. During World War I, Woodville was compelled to return to the depiction of current events, and three of his Great War works were displayed in the Royal Academy.