There are a lot of important artists throughout the history of time. Whether part of important periods in art history, or simply standing apart from others of their own volition, each has made a significant contribution to the world of art.
Among them is Spanish artist Francisco Goya. Goya, considered to be one of the most important Spanish artists throughout the late 18th and early 19th centuries, had quite the journey.
Royal Workshops
What sets Goya apart from some of the other famous artists of the time is his relationship to the royal workshops. The relationship would begin in 1774 and last throughout the remainder of his years.
What is even more impressive is that his relationship with royal workshops would last through four ruling monarchies. One of his most famous works was of tapestry cartoons for the Royal Tapestry Factory located in Santa Barbara. There, he painted 63 cartoons for two royal palaces.
Painter for the King
Later into his life, beginning at age 40, Goya found himself appointed as painter for various kings. It started with King Charles III. In 1789, he was then promoted to court painter to the new king, Charles IV.
That year is also important given that it was the fall of the French monarchy, followed closely by a declaration of war on Spain by France in 1793. During this time, Goya traveled with an art collector and wealthy businessman by the name of Sebastian Martinez y Perez. He would capture the intensity and likeness of the subject, showing inner character, personal expression, and humanity.
The Invasion of Napoleon
In 1808, Napoleon and his armies invaded Spain. Goya, though repulsed by the atrocities that the French armies were committing, showed an allegiance to Napoleon. He would paint members of the French Regime and, in 1811, was given the Royal Order of Spain.
Perhaps his most-known works came in a pair of paintings: The Second of May 1808 and The Third of May 1808, depicting some of the brutality that came following the fall of Napoleon and the reign of terror of king Ferdinand VII. He would continue to depict the brutalities of the regime until his retirement in 1824, where he would spend his days in Bordeaux.