"Saturn Devouring His Children" painter

Usage examples of goya.

Apart from the fact that he is a great and, one might say, uniquely original artist, Goya is significant as being, in his Later Works, the almost perfect type of the man who knows only sorrow and not the ending of sorrow.

In spite of his virulent anti-clericalism, Goya contrived to remain on sufficiently good terms with the Church to receive periodical commissions to paint religious pictures.

Realistically or in fantastic allegories, with a technical mastery that only increased as he grew older, Goya recorded it all -- not only the agonies endured by his people at the hands of the invaders, but also the follies and crimes committed by these same people in their dealings with one another.

The lack of this power is already conspicuous in the tapestry cartoons, of which the best are invariably those in which Goya does his composing in terms of silhouetted masses and the worst those in which he attempts to organize a collection of figures distributed all over the canvas.

The attempt is not successful, and in spite of its power and the beauty of its component parts, the picture as a whole is less satisfying as a composition, and for that reason less moving as a story, than is the companion piece, in which Goya arranges his figures in a series of sharply delimited balancing groups, dramatically contrasted with one another and the background.

Fortunately, in the etchings, Goya is very seldom tempted to talk in anything else.

But within the field that he chose to cultivate -- that the idiosyncrasies of his temperament and the quality of his artistic sensibilities compelled him to choose -- Goya remains incomparable.

Among the great painters only Goya has chosen to treat of death, and then only of death by violence, death in war.

Standing under the Goya, like a general about to detail a plan of attack which others would have to execute, he developed his proposal.

Fleur, beneath the Goya, was boiling a silver kettle, and burning pastilles.

And before Goya you have to go back to the mediaeval chaps who did the gargoyles and chimaeras on Notre Dame and Mont Saint-Michel.

A locked portfolio, bound in tanned human skin, held certain unknown and unnameable drawings which it was rumored Goya had perpetrated but dared not acknowledge.

It seemed as though at some turn in the path they would run into Goya, sitting before his easel, scowling ill-naturedly at some dainty duchess who was serving as his model.

A work of fiction should carry the hall mark of its author as surely as a Goya, a Daumier, a Velasquez, and a Mathew Maris, should be the unmistakable creations of those masters.

They included works of, among others, Rembrandt, Rubens, Hals, Vermeer, Velazquez, Murillo, Goya, Vecchio, Watteau, Fragonard, Reynolds and Gainsborough.