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Delphi Masters of Art #23
Delphi Complete Paintings of Francisco de Goya
The romantic painter Francisco de Goya is considered the most important Spanish artist of late eighteenth and early nineteenth centuries. Throughout his long and distinguished career, Goya produced paintings and prints that chronicled the history, folly and beauty of his times. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Goya’s complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)
* The complete paintings of Francisco de Goya — over 300 paintings, fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Goya’s celebrated works in detail, as featured in traditional art books
* Hundreds of images in stunning colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
* Special chronological and alphabetical contents tables for the paintings
* Easily locate the paintings you wish to view
* Includes Goya's various series of prints - spend hours exploring the artist’s diverse works
* Features a bonus biography - discover Goya's artistic and personal life
* Scholarly ordering of plates into chronological order.
* The complete paintings of Francisco de Goya — over 300 paintings, fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Goya’s celebrated works in detail, as featured in traditional art books
* Hundreds of images in stunning colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
* Special chronological and alphabetical contents tables for the paintings
* Easily locate the paintings you wish to view
* Includes Goya's various series of prints - spend hours exploring the artist’s diverse works
* Features a bonus biography - discover Goya's artistic and personal life
* Scholarly ordering of plates into chronological order.
824 pages, Kindle Edition
Published February 24, 2016
78 people are currently reading
170 people want to read
About the author
Francisco de Goya
121 books30 followersFrancisco José de Goya y Lucientes was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso.
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Displaying 1 - 4 of 4 reviews
February 2, 2021
Fortune was kind to Goya, giving him a long life (for the turbulent times in which he lived) and recognition during his lifetime. 82 years that the Spaniard managed to achieve gave him the opportunity to leave a rich and diverse legacy. Obtaining the dignity of the court painter of the King of Spain spared him the worries of securing the material existence of his family. The royal recognition also ensured him a constant flow of orders from the Spanish aristocracy, favored by the brush portraits of those who found himself in the royal favors. Thanks to this successful coincidence, Goya was a very prolific and versatile painter, open to new painting techniques, as a result his style was constantly evolving. He created easel and altar paintings, tapestry designs, wall paintings, graphic series, sketches, drawings and miniatures. He painted portraits, hunting and genre scenes, religious, mythological, historical and allegorical pictures, and still lifes. He did not shy away from engraving, creating etchings.
The wealth of the Spaniard's painting legacy is so diverse that collecting it in one album is probably impossible - not only that such a publication would have to be thousands of pages long, not to mention the price that would have to be paid for such an album. Gathering Goya's painting in one volume should therefore be considered an accurate and successful decision. On this, however, I must confine my praise to this publication for the following reasons.
First, the addressee of this publication is not clear to me. When creating an album, its creator should consider who will be its target audience - whether a Spaniard's painting lover, who already has a basic knowledge of Goya's biography, main motifs and arcana, or a total naturalist who is to learn about Goya only from this publication. The richness of this album seems to indicate that the recipient of this publication is to be a "professional", a person for whom this is not the first meeting with Goya and his paintings. However, the substantive content of the album is extremely poor. At the very beginning, an outline of the painter's biography is presented, which in principle could be omitted. This biography provides only basic facts about the painter's biography, which can be easily found in any encyclopedia. The lack of this biographical feature would not, in my opinion, constitute any prejudice to the substantive content of the biography, especially if it is so sparse in content. Since this album is a review, presenting the entire output of Goya's painting, one should expect a text that would explain the evolution of the style and theme of the Spanish painter's painting. Working on his own unique style, Goya has evolved from the baroque and rococo, which permeate his first frescoes and tapestry designs, through neoclassical academism, to pre-romanticism and pre-impressionism visible in his last paintings and prints. The result of liberation from classical principles and the culmination of artistic expression is a series of famous "black paintings". The topics he deals with are very broad, they include: portraits, genre scenes (hunting, folk scenes, vices of society, violence, witches and witchcraft), historical and religious paintings and still life. Presenting the whole spectrum of painting one should expect at least a synthetic overview of the main painting trends and trends to which Goya complied and drew from during his long career, and not a skimpy biography, which does not constitute any added value.
Second, the album is divided into two parts. The first of them presents a selection of Goya's paintings from various periods of his creativity, with various themes and techniques. This selection is accompanied by a brief overview of the circumstances of the creation of a given work, the motifs used by the painter, or the proposed interpretation of the painting. On what basis the publisher made this selection - unfortunately, it is not known. Which made him decide to present, in detail, with a brief overview, selected canvases by Goya from among hundreds of paintings - the selection criteria were not indicated in any place. As for these discussions - like the painter's biography, they do not sin with in-depth analysis. Most often they come down to repeating the findings made by the most famous monographist of Goya, Alfonso E. Pérez Sánchez. However, more than 40 years have passed since the death of Pérez Sánchez, and in that time a lot has happened in the history of art. Some of Goya's canvases have been subjected to conservation in the meantime, which allowed them to extract new elements that shed new light on the possibility of reading the Spaniard's work, e.g. the inscription "solo Goya" on the portrait of Duchess Alba in Spanish dress with a mantilla, which was used on the album cover. The interpretations of Goya's works presented in the album suggest that nothing has changed since the times of Pérez Sánchez.
Perhaps my expectations are too high. Perhaps the aim of the authors of this album was to collect in one publication all Goya's canvases with the title, date of creation and location of the canvas. Because that's what this album really is.
The wealth of the Spaniard's painting legacy is so diverse that collecting it in one album is probably impossible - not only that such a publication would have to be thousands of pages long, not to mention the price that would have to be paid for such an album. Gathering Goya's painting in one volume should therefore be considered an accurate and successful decision. On this, however, I must confine my praise to this publication for the following reasons.
First, the addressee of this publication is not clear to me. When creating an album, its creator should consider who will be its target audience - whether a Spaniard's painting lover, who already has a basic knowledge of Goya's biography, main motifs and arcana, or a total naturalist who is to learn about Goya only from this publication. The richness of this album seems to indicate that the recipient of this publication is to be a "professional", a person for whom this is not the first meeting with Goya and his paintings. However, the substantive content of the album is extremely poor. At the very beginning, an outline of the painter's biography is presented, which in principle could be omitted. This biography provides only basic facts about the painter's biography, which can be easily found in any encyclopedia. The lack of this biographical feature would not, in my opinion, constitute any prejudice to the substantive content of the biography, especially if it is so sparse in content. Since this album is a review, presenting the entire output of Goya's painting, one should expect a text that would explain the evolution of the style and theme of the Spanish painter's painting. Working on his own unique style, Goya has evolved from the baroque and rococo, which permeate his first frescoes and tapestry designs, through neoclassical academism, to pre-romanticism and pre-impressionism visible in his last paintings and prints. The result of liberation from classical principles and the culmination of artistic expression is a series of famous "black paintings". The topics he deals with are very broad, they include: portraits, genre scenes (hunting, folk scenes, vices of society, violence, witches and witchcraft), historical and religious paintings and still life. Presenting the whole spectrum of painting one should expect at least a synthetic overview of the main painting trends and trends to which Goya complied and drew from during his long career, and not a skimpy biography, which does not constitute any added value.
Second, the album is divided into two parts. The first of them presents a selection of Goya's paintings from various periods of his creativity, with various themes and techniques. This selection is accompanied by a brief overview of the circumstances of the creation of a given work, the motifs used by the painter, or the proposed interpretation of the painting. On what basis the publisher made this selection - unfortunately, it is not known. Which made him decide to present, in detail, with a brief overview, selected canvases by Goya from among hundreds of paintings - the selection criteria were not indicated in any place. As for these discussions - like the painter's biography, they do not sin with in-depth analysis. Most often they come down to repeating the findings made by the most famous monographist of Goya, Alfonso E. Pérez Sánchez. However, more than 40 years have passed since the death of Pérez Sánchez, and in that time a lot has happened in the history of art. Some of Goya's canvases have been subjected to conservation in the meantime, which allowed them to extract new elements that shed new light on the possibility of reading the Spaniard's work, e.g. the inscription "solo Goya" on the portrait of Duchess Alba in Spanish dress with a mantilla, which was used on the album cover. The interpretations of Goya's works presented in the album suggest that nothing has changed since the times of Pérez Sánchez.
Perhaps my expectations are too high. Perhaps the aim of the authors of this album was to collect in one publication all Goya's canvases with the title, date of creation and location of the canvas. Because that's what this album really is.
September 18, 2020
I enjoyed many of his works but the darker images are quite unsettling and added some quotes below which highlighted this.
"The 1778 cartoon, now housed in Madrid’s Museo del Prado, indicates how Goya’s art was beginning to explore darker themes, as seen in the sinister form of the blind guitarist. The image shows a large assembly of well-to-do folk, appearing to be midway through an afternoon stroll, gathered before the musician. His large vacuous eyes and haunting expression render the guitarist an imposing figure in the canvas, as the rest of the figures appear to be drawn towards him. To the top right the clouds are tinged with darkness, hinting at a storm and trouble to come. Even the gentleman in the fine yellow coat feels compelled to give the guitarist a coin and appears to dig deep into his pockets to find one that will be pleasing to the ominous figure. Throughout his career, Goya would produce many controversial and unsettling images, hinting at his own liking for dark subject matter, of which The Blind Guitarist was only a prelude of many more to come. "
"Completed between 1793 and 1794, the following plate was inspired by scenes that Goya witnessed in asylums he visited in his youth in Zaragoza. The canvas was painted at the same time he suffered from a severe and undiagnosed illness, which resulted in him being left completely deaf for the rest of his life. After 1793, Goya’s work became progressively darker and pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, in spire of his social climbing. Yard with Madmen was painted around the time when Goya’s deafness and fear of mental illness were developing and he was increasingly complaining of his health. "
"abandoning his earlier search for ideal beauty. Instead, he sought to explore the relationship between naturalism and fantasy, which would go on to interest him for the rest of his career. He was undergoing a nervous breakdown and entering prolonged physical illness and these paintings reflect his own self-doubt, fearing that he himself was going mad, like the subjects he was painting. "
"The 1778 cartoon, now housed in Madrid’s Museo del Prado, indicates how Goya’s art was beginning to explore darker themes, as seen in the sinister form of the blind guitarist. The image shows a large assembly of well-to-do folk, appearing to be midway through an afternoon stroll, gathered before the musician. His large vacuous eyes and haunting expression render the guitarist an imposing figure in the canvas, as the rest of the figures appear to be drawn towards him. To the top right the clouds are tinged with darkness, hinting at a storm and trouble to come. Even the gentleman in the fine yellow coat feels compelled to give the guitarist a coin and appears to dig deep into his pockets to find one that will be pleasing to the ominous figure. Throughout his career, Goya would produce many controversial and unsettling images, hinting at his own liking for dark subject matter, of which The Blind Guitarist was only a prelude of many more to come. "
"Completed between 1793 and 1794, the following plate was inspired by scenes that Goya witnessed in asylums he visited in his youth in Zaragoza. The canvas was painted at the same time he suffered from a severe and undiagnosed illness, which resulted in him being left completely deaf for the rest of his life. After 1793, Goya’s work became progressively darker and pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, in spire of his social climbing. Yard with Madmen was painted around the time when Goya’s deafness and fear of mental illness were developing and he was increasingly complaining of his health. "
"abandoning his earlier search for ideal beauty. Instead, he sought to explore the relationship between naturalism and fantasy, which would go on to interest him for the rest of his career. He was undergoing a nervous breakdown and entering prolonged physical illness and these paintings reflect his own self-doubt, fearing that he himself was going mad, like the subjects he was painting. "
May 30, 2020
Een koopje!
Zeer volledig! Ook al het grafisch werk.
Een aanrader. Lust voor het oog
Je krijgt een totaal overzicht.
Illustraties mochten iets groter zijn
Zeer volledig! Ook al het grafisch werk.
Een aanrader. Lust voor het oog
Je krijgt een totaal overzicht.
Illustraties mochten iets groter zijn
July 24, 2024
The rocker c. 1781
The straw doll 1791/2
Yard with Lunatics 1793/4
Witches 1798: Witches' Sabbath, Witches' Flight, The
Incantation, The Devil's Lamp, The Witches' kitchen.
Ghostly vision 1801
The bull "Barbudo" that killed Pepe 1801
Cannibals contemplating human remains c. 1800-1805
The Colossus c. 1808-1812
Majas on a Balcony c. 1808-1814
The Madhouse 1812-1819
The Burial of the Sardine 1812-1819
A Procession of Flagellants 1812-1819
Black Paintings 1819 and 1823; includes Saturn Devouring His Son
Paintings bt 1824-1825: https://en.m.wikipedia.org/wiki/List_...
The straw doll 1791/2
Yard with Lunatics 1793/4
Witches 1798: Witches' Sabbath, Witches' Flight, The
Incantation, The Devil's Lamp, The Witches' kitchen.
Ghostly vision 1801
The bull "Barbudo" that killed Pepe 1801
Cannibals contemplating human remains c. 1800-1805
The Colossus c. 1808-1812
Majas on a Balcony c. 1808-1814
The Madhouse 1812-1819
The Burial of the Sardine 1812-1819
A Procession of Flagellants 1812-1819
Black Paintings 1819 and 1823; includes Saturn Devouring His Son
Paintings bt 1824-1825: https://en.m.wikipedia.org/wiki/List_...
Displaying 1 - 4 of 4 reviews