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Christ Crucified
Oil on canvas. 1780
Goya y Lucientes, Francisco de
Christ Crucified
Oil on canvas. 1780
Goya y Lucientes, Francisco de

The figure of Christ is depicted following the tradition of seventeenth-century Spanish religious painting, although the classical concept of beauty disseminated in Spain by Mengs and Bayeu is also evident. In addition, Goya softened the more cruel and dramatic aspects of this subject, emphasising the beauty of the nude body. The canvas was presented by the artist at the Real Academia de Bellas Ar

The Holy Family
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de
The Holy Family
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de

Goya expresses the greater importance of this composition through the larger size of the figures, compared to its companion work, Tobias and the Angel (P07856). The wood shavings on the floor indicate that the scene takes place in Saint Joseph´s austere carpentry shop. The Virgin and Saint Joseph —holding his flowering staff— sadly reflect on their child´s destiny, which is foreshadowed by the woo

Tobias and the Angel
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de
Tobias and the Angel
Oil on canvas. Ca. 1787
Goya y Lucientes, Francisco de

This devotional painting illustrates an Old Testament story (Tobias 6, 1-8) in which Tobias meets the Archangel Raphael. The story of the two Tobias, father and son, is a model of Jewish piety and the father foreshadows the suffering of Christ´s Passion. He was faithful to the Law of God in the midst of generalized abuse and was put to the test on various occasions, always successfully. This

The Taking of Christ
Oil on canvas. 1798
Goya y Lucientes, Francisco de
The Taking of Christ
Oil on canvas. 1798
Goya y Lucientes, Francisco de

This is a representation of the taking of Christ by Roman soldiers, a scene from the New Testament that marks the beginning of his Passion (Matthew 26, 45-46; Mark 14, 41-52; Luke 22, 45-54; John 18, 1-9). This is a preparatory sketch for the painting that adorns one of the altars at the Sacristy of Toledo Cathedral. Here, Goya´s manner of working is visible: rapid and energetic brushstrokes creat

Saint Barbara
Oil on canvas. Ca. 1772
Goya y Lucientes, Francisco de
Saint Barbara
Oil on canvas. Ca. 1772
Goya y Lucientes, Francisco de

Saint Barbara was a third-century Christian martyr imprisoned in a tower and later decapitated by her father, Dioscoro, as punishment for not wanting to marry and refusing to profess paganism. Goya depicts the saint with her various symbols, with a monstrance in her right hand and the palm frond of martyrdom in the left. She wears a crown as she was a princess. The tower is behind her, and a repre

Saint John the Baptist in the Desert
Oil on canvas. 1810 - 1812
Goya y Lucientes, Francisco de
Saint John the Baptist in the Desert
Oil on canvas. 1810 - 1812
Goya y Lucientes, Francisco de

Goya depicts Saint John as an adolescent, holding his traditional attributes: a cross whose banner reads “Lamb of God.” The artist places him on a boulder, looking up and thinking about Christ´s future Passion. This is an original conception of a religious subject that was quite frequent in Spain beginning with the Baroque painters. The color scheme, which is exceptionally vivid, as well as

The Immaculate Conception
Oil on canvas. 1783 - 1784
Goya y Lucientes, Francisco de
The Immaculate Conception
Oil on canvas. 1783 - 1784
Goya y Lucientes, Francisco de

Goya breaks with Baroque tradition, interpreting this typified subject according to the new principles of Neoclassicism. The clothing no longer flies around the figure, but instead adapts to the body in a natural manner. This delightful and emotive work is a preparatory sketch for the canvas belonging to the main altarpiece of the church of the College of the Order of Calatrava in Salamanca. It wa

Saints Justa and Rufina
Oil on cedar panel. 1817
Goya y Lucientes, Francisco de
Saints Justa and Rufina
Oil on cedar panel. 1817
Goya y Lucientes, Francisco de

The patron saints of Seville were potters. They were martyred for having refused to worship an image of the goddess, Venus. They are depicted with their clay pots, or alcazarras, and the palms of martyrdom, while a lion licks saint Rufina´s foot. Seville Cathedral, with the Giralda tower, is visible in the background. This tower remained standing after the earthquake of 1504, thanks to the saints´

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