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General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de
General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de

This portrait of José Rebolledo de Palafox y Melci (1775-1847), Field Marshal of Zaragoza, commemorates his defense of the city in 1808 when it was besieged by the French during the War of Independence. Palafox became a symbol of patriotic resistence to the invader when he refused to capitulate despite the terrible state in which his city and its defenders found themselves. Goya seems to ha

General José de Urrutia
Oil on canvas. Ca. 1798
Goya y Lucientes, Francisco de
General José de Urrutia
Oil on canvas. Ca. 1798
Goya y Lucientes, Francisco de

Don José de Urrutria y de las Casas (1739-1809), was the only soldier of his day to reach the rank of Field Marshal without being a titled nobleman. He is shown wearing the Cross of Saint George which he received from Catharine of Russia for his actions at the siege of Ochakiv, (Ukraine) in 1789. In 1798 he was removed from all public office due to differences with Manuel Godoy. This portra

Ferdinand VII at an Encampment
Oil on canvas. After 1815
Goya y Lucientes, Francisco de
Ferdinand VII at an Encampment
Oil on canvas. After 1815
Goya y Lucientes, Francisco de

Several portraits of Ferdinand VII are attributed to Goya, though only a few have sufficient quality to be considered fully his own work. Furthermore, there is no accurate documentation of the portraits of a monarch who chose Vicente López to be the official portraitist over Goya. It is, however, clearly documented that Goya, as first court painter, did an equestrian portrait that was one o

Folly of fear
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Red chalk, Wash on laid paper. 1815 - 1819
Goya y Lucientes, Francisco de

This preparatory drawing for Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Peninsular War, he witnessed the collapse of part of the progressive world with which he somehow felt personally identified. He probably worked on this series until 1819, when political changes associate

Folly of fear
Drypoint, Retroussage, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Drypoint, Retroussage, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Peninsular War, he witnessed the collapse of part of the progressive world with which he somehow felt personally identified. He probably worked on this series until 1819, when political changes associated with the triumph of General

Folly of fear
Drypoint, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de
Folly of fear
Drypoint, Etching, Aquatint, Burnisher on wove paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Peninsular War, he witnessed the collapse of part of the progressive world with which he somehow felt personally identified. He probably worked on this series until 1819, when political changes associated with the triumph of General

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