GOYA , FRANCISCO DE

Additional reading General works. Laurent Matheron, Goya (1858), the first monograph (in French) on Goya, dedicated to Delacroix-contains interesting data on the artist's last years in Bordeaux; Francisco Zapater y Gmez, Goya. Noticias biogrficas (1868; new ed., 1924), important biographical notes by the son of Goya's intimate friend, Martn Zapater, with extracts from his correspondence; Conde de la Viaza, Goya: su tiempo, su vida, sus obras (1887), a study of Goya and his times, incorporating many documents, with a catalogue raisonn; F.J. Snchez Cantn, Vida y obras de Goya (1951; The Life and Works of Goya, 1964), a well-documented general survey of Goya's life and principal works; F.D. Klingender, Goya in the Democratic Tradition, 2nd ed. (1968), a stimulating, if partisan, study of the artist in relation to his political and social background, which is treated in considerable detail; Pierre Gassier and Juliet Wilson, Vie et oeuvre de Francisco Goya (1970; The Life and Complete Work of Francisco Goya, ed. by Franois Lachenal, 1971), of major importance as the most comprehensive monograph on Goya, providing an authoritative account of his life and career, with a catalog and reproductions of all his known paintings, drawings, and engravings and detailed bibliographical references; and Noel Bertram Gerson, The Double Lives of Francisco de Goya (1973). Paintings. Valentn de Sambricio, Tapices de Goya (1946), the definitive work on Goya's tapestry cartoons, with all the relevant documents, and illustration of all the paintings; Enrique Lafuente Ferrari, The Frescos in San Antonio de la Florida in Madrid (Eng. trans. 1955), a historical and critical study of the frescoes, illustrated in colour; F.J. Snchez Cantn, Goya and the Black Paintings, with an appendix by Xavier de Salas (1964), a well-documented account of Goya's career with a detailed study of the "black paintings" and a history of the "Quinta del Sordo," with large and detailed colour illustrations; and Josep Gudiol i Ricart, Goya: Biography, Analytical Study, and Catalogue of His Paintings (Eng. trans. 1971), a detailed study of Goya's life and work accompanied by a critical catalog of his paintings (fully illustrated). Drawings and engravings. F.J. Snchez Cantn, Los dibujos de Goya, 2 vol. (1954), a catalog with reproductions of Goya's drawings in the Prado; and Los Caprichos de Goya y sus dibujos preparatorios (1949), a well-illustrated study of the etchings and their preparatory drawings; Jos Lpez-Rey, A Cycle of Goya's Drawings: The Expression of Truth and Liberty (1956), an interpretation of the drawings in the light of the political and social background during the liberal struggle in Spain following the defeat of Napoleon; and Goya's Caprichos: Beauty, Reason and Caricature, 2 vol. (1953), an interpretive study of the "Caprichos" with a catalog of the etchings and preparatory drawings, all illustrated; Enrique Lafuente Ferrari, Los desastres de la guerra de Goya y sus dibujos preparatorios (1952); and Jos Camn Aznar, "Los Disparates" de Goya y sus dibujos preparatorios (1951), two well-illustrated studies of the etchings and their preparatory drawings; Toms Harris, Goya: Engravings and Lithographs, 2 vol. (1964), the most important and most comprehensive work on the subject, including a study of Goya's techniques and methods of production and a complete illustrated catalog with critical and descriptive analysis of every work from the preparatory drawings and working proofs to all the published impressions; and Drawings: The Complete Albums (1973). Major Works: Paintings. Religious: "The Adoration of the Name of God" (1772; cathedral of Nuestra Seora del Pilar, Zaragoza); "Christ on the Cross" (1780; Prado, Madrid); "The Queen of Martyrs" (1780-81; cathedral of Nuestra Seora del Pilar); "St. Bernardino of Siena" (1782-83; San Francisco el Grande, Madrid); "The Annunciation" (1785; private collection, Spain); "The Taking of Christ" (1798; Cathedral, Toledo); "A Miracle of St. Anthony of Padua" and other scenes (1798; San Antonio de la Florida, Madrid); "SS. Justa and Rufina" (1817; Cathedral, Seville); "The Last Communion of St. Joseph of Calasanz" (1819; Escuelas Pas de San Antn, Madrid); "Agony in the Garden" (1819; Escuelas Pas de San Antn). Portraits: "The Count of Floridablanca and Goya" (1783; Banco Urquijo, Madrid); "The Marquesa de Pontejos" (c. 1786; National Gallery of Art, Washington, D.C.); "Manuel Osorio de Ziga" (1788; Metropolitan Museum of Art, New York City); "Family of the Duke of Osuna" (1788; Prado); "The Marquesa de la Solana" (c. 1794-95; Louvre, Paris); "The Duchess of Alba" (1797; Hispanic Society of America, New York City); "Ferdinand Guillemardet" (1798; Louvre); "La Tirana" (1799; Academy of San Fernando, Madrid); "Queen Maria Luisa, on Horseback" (1799; Prado); "The Family of Charles IV" (1800; Prado); "The Naked Maja" and "The Clothed Maja" (c. 1800-05; Prado); "Doa Isabel de Porcel" (c. 1806; National Gallery, London); "General Manuel Romero" (c. 1810; private collection, Chicago); "The Duke of Wellington" (1812; National Gallery, London); "Mariano Goya" (c. 1812-14; private collection, Madrid); "Ferdinand VII in an Encampment" (c. 1814; Prado); "Self-Portrait" (1815; Academy of San Fernando); "Portrait of Don Juan Antonio Cuervo" (1819; Cleveland Museum of Art); "Self-Portrait with Doctor Arrieta" (1820; Minneapolis Institute of Arts, Minnesota); "Leandro Fernndez de Moratn" (1824; Museo de Bellas Artes, Bilbao, Spain); "The Milkmaid of Bordeaux" (1825-27; Prado); "Don Juan Bautista de Muguiro" (1827; Prado); "Don Jos Po de Molina" (1827-28; Reinhart Collection, Winterthur). History, allegory, and genre: "Tapestry Cartoons" (1775-92; Prado); "The Madhouse" (1794; Virginia Meadows Museum and Elizabeth Meadows Sculpture Court, Dallas, Texas); "Allegory of the City of Madrid" (1810; Casa del Ayuntamiento, Madrid); "The Colossus" ("The Panic," c. 1810-12; Prado); "Time and the Old Women" (c. 1810-12; Muse des Beaux-Arts, Lille, Fr.); "The Majas on the Balcony" (c. 1812; Metropolitan Museum of Art); "Young Women with a Letter" (c. 1814-18; Muse des Beaux-Arts, Lille); "The 2nd of May 1808 in Madrid: The Charge of the Mamelukes" (1814; Prado); "The 3rd of May 1808: The Execution of the Defenders of Madrid" (1814; Prado); "The Forge" (c. 1819; Frick Collection, New York City); "The Black Paintings from the Quinta del Sordo" (1820-23; Prado). Drawings, engravings, and lithographs. The largest and most important collection of drawings of all periods is in the Prado, Madrid. Etchings "Los caprichos" (1797-98); "Los desastres de la guerra" (1810-14); "La tauromaquia" (1815-16); "Los disparates" or "Los proverbios" (c. 1820-24). Lithographs. "The Bulls of Bordeaux" (1824-25).