1. NEOCLASSICISM
&
ROMANTICISM

2. NEOCLASSICISM
 XVIII changes:
 Population growth.
 Industrial Revolution.
 Middle classes growth.
 Enlightment (Age of Reason)and its ideas.

3. Enlightment :
 Science and intellectual interchange
vs
 Superstition, intolerance and abuses by church
and state
 Art must have a social and moral purpose.
 Against the excess of Baroque (art for the
church and royalty)

4.  The Enlightment and the Classic art: Greece and Rome
(again)
 Pompei and Herculaneum are rediscoverd.
 First archaeological works in Greece
.

5. NEOCLASSIC ARCHITECTURE
Classical architecture is the model to copy

6.  Geometric volumes and floor plants.
 It’s a new Renaissance.
 The classic temple and its
elements are used in
churches, public
buildings…

7.  Public buildings
 Museums
 Libraries.
 Theaters.
 Political buildings: Parliaments, Arches of Triumph

9. ROMANTICISM
 Partly a reaction to the Industrial Revolution
 Also a revolt against aristocratic social and
political norms of the Age of Enlightenment
 and a reaction against the
scientific rationalization of nature
 aprox. 1800 - 1840

10. ROMANTICISM
 EMOTION the authentic source of aesthetic
experience.
 Untamed nature
 Classical ruins
 A revived medievalism gothic
 Landscape paintings


15. Francisco de Goya y Lucientes

16. Francisco de Goya y Lucientes
• Spanish Romantic painter.
• The last of the Old Masters and the first of the modern ones.
• Court painter to the Spanish Crown.
• His works are a mirror of his era.
• His revolutionary and imaginative art and his bold handling of paint,
provided a model for the work of later generations of artists.

17. Early life
• Was born in Aragón in 1746
•At age 14, Goya entered apprenticeship with the painter José
Luzán in Zaragoza
• in Madrid where he studied with Anton Raphael Mengs, a
painter who was popular with Spanish royalty.
• Back in Zaragoza and painted parts of the cupolas of the Basilica
of the Pillar and the frescoes of San Antonio de la Florida

18. In his first paintings displays the stereotypes of Late Baroque Catholic religious art

20. The Frescoes in the Cartuja de Aula Dei (1774) are a cycle of frescoes or mural paintings on
the Life of the Virgin, realised in secco (i.e., painted in oils directly onto the wall surface)

21. He studied with Francisco Bayeu and married his daugther
member of the Royal Academy of Fine Art
helped Goya to procure work as a painter of designs to be woven by Royal
Tapestry Factory

22. Tapestries
• He designed about 42
patterns; many of them were
used to decorate and insulate
the stone walls of El Escorial
and the Palacio Real del
Pardo.

23. In these first works:
•Color and light
•Armonic compositions
El quitasol

24. El pelele

25. La boda

26. El cacharrero

27. La nevada

28. La gallina ciega

29. El columpio

30. La vendimia

31. El bebedor

32. Baile en el Manzanares

33. La maja y los
embozados

34. La cometa

35. El verano

36. Las lavanderas

37. Los zancos

38. Las floreras

39. La novillada

40. El ciego de la guitarra

41. La merienda

42. Jugadores de naipes

43. La ermita de San Isidro

44. Muchachos
cogiendo fruta

45. La feria de Madrid

46. Las mozas del cántaro

47.  1783. The Count of Floridablanca, a favorite of King Carlos III, commissioned
Goya to paint his portrait.
 He also became friends with Crown Prince Don Luis, and spent two summers
with him, painting portraits of both the Infante and his family.
 During the 1780s, his circle of patrons grew to include the King and other
notable people of the kingdom.
 1786. Goya was given a salaried position as painter to Carlos III.
 1789. Goya became a court painter to Charles IV.
 1799. Goya was appointed First Court Painter.

48. Goya’s deafness
 Between 1792 and 1793, a serious illness, which exact nature is
not known, left Goya deaf, and he became withdrawn and
introspective.
 Gestures and facial expressions became vivid and images stayed
in his mind

49. PORTRAITS

50. Fast brushstroke
Quasi - Impressionism

51. María Luisa de
Parma.

52. La marquesa de Pontejos
La duquesa de Alba

53. His portraits are notable because he did not worry to flatter, and in the case
of Carlos IV of Spain and His Family, the lack of visual diplomacy is
remarkable

54. King’s brother Don Luis.
King’s sister king don Antonio Prince of
doña María Josefa. Carlos IV Parma.
GOYA Infanta María
Isabel
Carlos Carlos
Fernando,
María Luis
the heir Queen María
Isidro
Luisa Infanta
Fernando’s King’s sister María
future bride doña Carlota Luisa
Infante Joaquina
Francisco de
Paula

55. Queen María Luisa was thought to have had the real power, which is why
she is placed at the center of the group portrait

58. Gaspar Melchor
de Jovellanos

59. The Duchess of Alba

60. The Duchess of Alba

61. Francisco Bayeu
Count Fernán Núñez

62. Don Luis’ family

64. Duke of Osuna’s family

65. Goya. La Maja Desnuda
1799-1800
óleo sobre lienzo, 97 x 190 cm
Museo del Prado, Madrid

66. (La Maja Vestida)
1800-03
óleo sobre lienzo, 97 x 190 cm
Museo del Prado, Madrid

67. PATRIOTIC PAINTINGS
1 808
El dos de Mayo

69. In historic paintings action is more important than detail

71. Los fusilamientos del 3 de mayo

72. Manet. Execution of Emperor
Maximilian. 1867.
Picasso. Massacre in
Korea 1951.

74. ("Deaf Man's House")

76. BLACK PAINTINGS
El coloso
1808-1812.
116 x 105 cm.
óleo sobre lienzo.
Museo del Prado, Madrid.

77. Saturn eating his children

78. La romería de San Isidro (1821-1823)
Aquelarre (1821-1823).

79. Black and grey paint

80. La pradera de San Isidro (1788).
La romería de San Isidro (1821-1823)

81. DRAWINGS AND ENGRAVINGS
El sueño de la razón
produce monstruos.

82. Hasta su abuelo. Tu que no puedes.

83. Disasters of War (1810-1820)
Esto es peor.

85. ¡Qué coraje!

86. Tampoco

87. La tauromaquia (1816)
Bullfighting

90. Foolishness 1815-1823