Janis Tomlinson - Goya

GOYA

A PORTRAIT OF THE ARTIST

Janis A. Tomlinson

PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD

Copyright 2020 by Janis A. Tomlinson

Requests for permission to reproduce material from this work should be sent to Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540
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Cover image: Francisco Goya y Lucientes, Self-Portrait before an Easel, ca. 1795. Oil on canvas. 15 10 in. (40 cm 27 cm). Museo de la Real Academia de Bellas Artes de San Fernando, Madrid. Photo: Pablo Lins.

All Rights Reserved

ISBN 978-0-691-19204-8
ISBN (ebook) 978-0-691-20984-5
Version 1.0

Library of Congress Cataloging-in-Publication Data
Names: Tomlinson, Janis A., author.
Title: Goya : a portrait of the artist / Janis A. Tomlinson.
Description: Princeton : Princeton University Press, [2020] | Includes bibliographical references and index.
Identifiers: LCCN 2019041721 | ISBN 9780691192048 (hardback)
Subjects: LCSH : Goya, Francisco, 17461828. | ArtistsSpainBiography.
Classification: LCC N7113.G68 T666 2020 | DDC 700.92 [ B ]dc23
LC record available at https://lccn.loc.gov/2019041721

British Library Cataloging-in-Publication Data is available

Design and composition by Julie Allred, BW&A Books, Inc.

For J.G.T.

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A note on naming conventions: In Spanish, individuals have one or more given names, illustrated by that of Goyas friend Juan Agustn Cen Bermdez and by Goya himself, baptized as Francisco Joseph Goya. Individuals often use only one first name, in Goyas case, Francisco. Surnames are composed of both the paternal and maternal surnames: thus, Goya (paternal surname) y Lucientes (maternal surname). As in Goyas case, the paternal surname alone is generally used; however, if that name is particularly common, the maternal surname might be used: the most famous example is Pablo Ruz Picasso, who chose his mothers name. Throughout this book, I have generally used a single last name in the text, although the full name is given in this list. In the index, Spanish conventions are followed in indexing by the first (paternal) last name.

On several occasions, Goya himself introduced the particle de before his paternal surname, as had the writers Miguel de Cervantes and Lope de Vega over a century earlier. By the eighteenth century, this served as an identifier of noble lineage, and very possibly indicates Goyas unfulfilled aspirations. In this text, his name follows that of his baptismal certificate, without the particle.

For further information on the royal, political, and governmental figures listed here, see Diccionario Biogrfico electrnico (www.dbe.rah.es).

THE ARTISTS FAMILY

Joseph Goya and Gracia Lucientes, his parents, and their children:

Rita

Toms

Jacinta (died at the age of seven)

Francisco Joseph (identified throughout as Goya)

Mariano (died in infancy)

Camilo

Goyas in-laws, the Bayeu y Subas family:

Francisco: originally from Zaragoza; ascended rapidly in the ranks of court painters in 1763; following his parents death, became the caretaker of his siblings:

Ramn: painter, who often assisted his older brother

Manuel: painter, who entered the Carthusian order

Mara Josefa: known as Josefa, married Goya in 1773

Mara Josefa Matea: married Marcos del Campo in 1783

Francisco Goya y Lucientes and Josefa Bayeu y Subas family:

Javier Francisco (Javier): sole survivor of seven documented children

The in-laws of Goyas son, Javier, members of Goicoechea y Galarza family:

Gumersinda: wife of Javier Goya

Her father: Martn Miguel de Goicoecha

Her sister: Manuela, who with her husband, Jos Francisco Muguiro, and father accompanied Goya from Paris to Bordeaux in September 1824

Juan Bautista de Muguiro: brother-in-law of Manuela, also with Goya in Bordeaux and the subject of his last known portrait

FRIENDS AND PATRONS IN ZARAGOZA

Allu, Matas: chair of the building committee at El Pilar

Goicoechea, Juan Martn de: successful businessman and patron of the arts (no known relation to the family of Goyas daughter-in-law)

Pignatelli y Moncayo, Ramn de: noble and cleric, whose accomplishments included the realization of the Canal de Aragn and the founding of the Economic Society of the Friends of the Country in Zaragoza

Yoldi y Vidania, Jos: of noble lineage; lived from rental income and in Madrid from 1787 to 1794, when he returned to become a chief administrator of the Canal of Aragn

Zapater y Clavera, Martn: businessman best remembered as Goyas closest friend and correspondent from 1775 to 1799

Alduy, Joaquina: Zapaters aunt

ARTISTS

Adn Morln, Juan: sculptor and a student of Jos Ramrez; coincided with Goya in Rome and later in Madrid

Aral Solanas, Joaqun: sculptor and a student of Jos Ramrez

Castillo, Jos del: painter of tapestry cartoons and other works at the court of Carlos III

Eraso, Manuel: painter, who studied with Francisco Bayeu before going to Rome in 1762

Ferro Requijo, Gregorio: painter and Goyas frequent rival in competitions and elections of the Royal Academy of Fine Arts of San Fernando (hereafter, Royal Academy or academy)

Esteve, Agustn: frequently cited as a collaborator of Goya; his success as a portraitist at the court of Carlos IV was second only to Goyas own

Giaquinto, Corrado: Italian painter; first court painter to Fernando VI and subsequently to Carlos III

Gmez Pastor, Jacinto: court painter under Carlos IV

Gonzlez de Seplveda, Pedro: engraver, academician, collector, and diarist; here referred to as Seplveda.

Gonzlez Velzquez, Antonio: student of Giaquinto; named court painter in 1757

Lpez y Portaa, Vicente: student of Maella; replaced him as first court painter in 1815

Luzn Martnez, Jos: leading painter in mid-eighteenth-century Zaragoza, advocate for artistic education, and Goyas first teacher