By Sarah Carr-Gomm
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Additional resources for Francisco de Goya : (1746-1828)
Jovellanos is shown at work, sitting elegantly in a sumptuously furnished room, leaning on an elaborate table while contemplating some matter. On the table are his pens and papers and a statue of Minerva, the goddess of wisdom, stretching a hand towards him. He has the melancholic air of one who realizes the burden of his responsibilities; he held the post for just nine months. 7 cm, During the War of Independence (1808-14), Spain was split between those loyal to the monarch and the af rancesados, those who supported the French in the belief that they would bring about a more enlightened regime.
Spring (The Flowergirls), 1786-1787, oil on canvas, 177 x 192 cm, Prado Museum, Madrid. In 1816, Goya advertised the first edition of La Tauromaquia, or The Art of Bullf ighting. This series of thirty-three etchings work together to create a picture of the sport as a whole. The first thirteen plates trace the history of bullfighting, introduced into Andalusia by the Moors. Included are several plates celebrating heroes and monarchs — amongst them El Cid and Charles V — vying with the bull. 61 62 The Bullfight, 1812-1819, oil on panel, 45 x 72 cm, Royal Academy of San Fernando, Madrid.
Bullfighting Throughout his life, Goya was fascinated by bullfights. 68), in which young men amuse themselves as a bull is let into the enclosure. Goya portrays himself in pink as a torero, or fighter on foot, turning to catch the spectator’s eye as he shows off his skill with his cape. 62-3). The viewer watches from high up above the crowd as a mounted picador goads a bull with a pike. Matadors circle around, tricking the bull to come close. Within their muletas, or fan-shaped capes, their swords are concealed.