Jose de Goya y Lucientes was born on March 30, in the year 1746, in Fuendetodos, a small village in northern Spain. At the age of fourteen he became an apprentice for a local artist, Jose Luzan. Later he traveled to Madrid where he took interest in the last of the great Venetian painters. After attempting and failing to enroll in the Royal Academy of San Fernando, Goya then traveled to Rome, Italy. Then on to Sagossa in 1771 where he painted fresco in several local churches, establishing a reputation.
In 1773 Goya married a women named Josefa Bayeu, together they had many children, unfortunately only one by the name of Xavier made it to become an adult.
From 1775 to1792 Goya paints cartoons for a royal tapestry factory, beginning his first genre paintings of everyday life.
Later Goya achieves his first successful movement. He became a portrait painter for the Spanish aristocracy. He finally enrolled in the Royal Academy of San Fernando in 1780,
Francisco and was named painter to King Charles IV in 1786,and Court Painter in 1789.
In 1792 he suffered from a serious illness which left him permanently deaf. This began to make him feel alienated and separated from everyone else, provoking him to paint the darkness and weakness of mankind. He began to paint his own version of caricatures, showing the subjects as he saw them.
In 1795 he was elected director of painting at the Royal Academy and served until 1797, then being appointed Spanish Court Painter in 1799. Goya soon after begins a time where his imagination goes wild, and he enters a world of surrealism, which at the time proved to be unexceptable. Being unable to present these paintings, he withdraws his works and continues his job.
During Napoleons invasion and the Spanish war of Independence Goya became court painter for the French from 1808 to 1814. King Ferdinan VIII, king of Spain brings Goya back to Spain as Chamber Painter after the war.
His first trip to England to paint Queen Victoria was in 1842. He returned several times to paint the growing royal family, doing at least 120 works for them (abcgallery, par.1). One of these, a private painting commissioned by Queen Victoria, was to be given to Prince Albert as a
Originally, from Spain, Juan Gris moved to Paris in 1906. It was there where he learned and watched the progression of cubism. He met and lived next to innovators of this art form, Pablo Picasso and Georges Braque. Although he is not the pioneer of this art form, his first significant paintings appeared in 1910 and...
In order to better hone his prodigious abilities, Picasso attended the Academy in Barcelona for a brief period of time. He spent most of his early years painting in Paris, where he progressed through various periods - including a Blue period from 1900 to 1904 and a Rose period in 1904 - before creating the Cubist movement that lasted until the beginning of the First World War.
Upon viewing the works of famous French artist Edgar Germaine Hilaire Degas, I noticed a similar theme. No matter the scene conveyed, his works appear mysterious and ominous. Why are his works depicted in this way? Why are the women in his works not portrayed in such a fashion as other artists of the time? Degas admired Jean-Auguste-Dominique Ingres, even though their works contrasted immensely. This is due to the obscurity inside of Degas’ mind. It was said that you would never want to meet Degas the person, but Degas the artist is incredible. What could have caused such a conflict in how he perceived women?
Goya's painting has historical significance, as well as a social message that he wanted to send to generations to come.
It’s important to note that while she was the forerunner for the inclusion of women’s voice in history, she was also a forerunner as a female historian. She paved a trail for future historians in hope that there would be more contributions and revision into the historical research and historiography. If one was to research women in history, Lerner’s writings would be the first encounter only to realize how far the subject has gone. But the reader must also be aware of when these works were written. At the beginning, the height, and the depression of the women’s liberation movement and the past feminism of the 1970’s-1990’s, Lerner was present through the most radical and ultimate demise of second wave feminism; yet, while she was a female historian, she recognized issues second wave feminism created for future research. At its apex, the women’s rights movement stood only for a loose definition of feminism. Lerner needed to separate these constraints in order to continue to strive in research for women’s history. Thus what Lerner is concerned with is women’s emancipation, which is the “freedom from oppressive restrictions imposed by sex; self-determination; autonomy,” that long “predates the women’s rights movement.” Lerner found that through history, her works could help drive this emancipation. Her serious effort to define and explain the constructs that have done a disservice to the
Goal 2- Garner experience and practice in treatment planning and assessments through performing psychosocial and diagnostic assessments; consider methods of interventions appropriate to client presentation; develop treatment plans with supervisor for assigned clients.
"Women were denied knowledge of their history, and thus each woman had to argue as though no woman before her had ever thought or written. Women had to use their energy to reinvent the wheel, over and over again, generation after generation. ... thinking women of each generation had to waste their time, energy and talent on constructing their argument anew. Generation after generation, in the face of recurrent discontinuities, women thought their way around and out from under patriarchal thought." (Lerner qtd in Merrim Modern Women xxiii)
Throughout history, women have struggled with, and fought against oppression. They have been held back and weighed down by the sexist ideas of a male dominated society which has controlled cultural, economic and political ideas and structure. During the mid-1800’s to early 1900’s women became more vocal and rebuked sexism and the role that had been defined for them. Fighting with the powerful written word, women sought a voice, equality amongst men and an identity outside of their family. In many literary writings, especially by women, during the mid-1800’s to early 1900’s, we see symbols of oppression and the search for gender equality in society. Writing based on their own experiences, had it not been for the works of Susan Glaspell, Kate Chopin, and similar feminist authors of their time, we may not have seen a reform movement to improve gender roles in a culture in which women had been overshadowed by men.
Francisco José de Goya y Lucientes, or more commonly known as Goya, was a Spanish Romantic artist during the late 18th and early 19th century. Goya was one of the first artists to appear in the Romantic period and is now referred to as the most influential artist of the time. For a majority of his career, Goya suffered through hearing loss, causing him to express his internal thoughts through paintings he did inside of his home. The paintings depicted many characteristics of the Romantic style with his use of intense emotions and ideas such as death and horror. These romantic aspects were especially distinguished in his most famous pieces The Third of May 1808, Saturn Devouring His Son, and Witches’ Sabbath.
In her essay, entitled “Women’s History,” American historian Joan W. Scott wrote, “it need hardly be said that feminists’ attempts to expose ‘male biases’ or ‘masculine ideology’ embedded in historical writing have often met with ridicule or rebuttal of as expressions of ‘ideology.’” Scott’s essay discusses the efforts of female historians to both integrate themselves into the history disciples and their struggle to add and assimilate female perspectives, influences, and undertakings into the overall story of history. She also talks about the obstacles and potentially biased criticism that female historians have received and faced upon establishing themselves as accredited members of the historical academic community. One of these historians is Natalie
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The formal analysis of The 3rd of May, 1808, Francisco Goya, 1814, oil on canvas. In the following written composition I will examine The 3rd of May, 1808 in a context which will allow me to identify formal elements that Goya manipulated to influence the viewers with a specific outlining message. This work was completed in 1814 using oil on canvas medium. This piece of art stands at approximately 266 by 345cm. This was common for historical paintings to be substantially grander in size. Goya’s goal in this specific painting is to depict the sorrow and heartache connected with the Peninsular war. In this specific work The 3rd of May 1808 he highlights the honor of the massacred Spanish rebellions opposed to the savage French troops. This formal analysis will examine the important technique used by Goya to organize societies depiction of the visual information. Within this work I will concentrate on these elements of color, texture, shape, lines, space, and the value to bring about my own opinion of Goya’s work. Using this strategy applied to The 3rd of May, 1808 work I hope to demonstrate a comprehension how to translate what I see into written words.
Pablo Picasso was born with a natural ability to paint. He was born on October 25, of 1881 in the town of Malaga, Spain. According to a blog written by Alex Santoso, “Picasso was baptized Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Martyr Patricio Clito Ruíz y Picasso. He was named after various saints and relatives. The "Picasso" is actually from his mother, Maria Picasso y Lopez. His father is named Jose Ruiz Blasco.” When Pablo Picasso wa...
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...