Francisco Goya Quotes (1746-1828)

“Beloved soulmate.. ..you'll kiss my ass at least seven times if I manage to convince you from the crazy happiness I got from living here [Madrid].. ..the various insects with their deadly weapons, made of needles and penknives, which, if you don't look out and even if you do, will tear away your flesh and your hair as well.. ..and you can't find a spot far enough away from them to escape their cruelty. This infection is general in every town..”

“The author [Goya] is convinced that it is as proper for painting to criticize human error and vice as for poetry and prose to do so, although criticism is usually taken to be exclusively the business of literature.”

“The first prize for painting has been accorded to the canvas with the device Monies fregit aceto, by Monsieur Paul Borroni. The second prize for painting has been taken by Mr. Francois Goya, Roman, pupil of Mr. Bajeu, painter to the King of Spain. The Academy has noted in the second picture [of Goya] the beautiful management of the brush, and the depth of expression in the face of Hannibal, as well as the individuality and grandeur in the attitude of this general. If Mr. Goya had not been so slight in the composition of the subject, and if his coloring had been more truthful, he would have divided the votes for the first prize.”

“Having to proceed against painters in accordance with rule 11 of the expurgation procedure, and given that Don Francisco de Goya is the author of two of the works [ 'La maja desnuda' and the 'La maja vestida' ].. ..one of them representing a naked woman on a bed.. ..and the other a women dressed as a 'maja' on a bed.. ..the said Goya [should] be ordered to appear before this tribunal so as to identify them and state whether they are his work, for what reasons he did them, at whose request and what intention guided him.”

“[Goya arrived] deaf, old, awkward and weak, and without knowing a word of French, [but] he was anxious and happy to see the world.”

“if you are an angel go and flatter a person named Moreau, picture dealer, Rue Lafitte, Hotel Lafitte.. ..and try to obtain from this man permission to take a photograph of the [painting] 'Duchess of Alba' (absolutely Goya and absolutely authentic). The replicas (life-size) are in Spain, where Gautier has seen them. In one frame the Duchess is represented in national costume, in the other she is nude, in the same position, on her back. The triviality of the pose adds to the charm of the pictures. If I ever used your slang I might say that the Duchess is a bizarre woman with a wicked look.. .If you were a very wealthy angel I would advise you to buy these pictures, for the occasion will not repeat itself. Imagine a Bonington, or a gallant and ferocious Deveria. The man who owns them is asking 2,400 francs.. .He admitted to me that he bought them from Goya's son [Xavier Goya], who had become extraordinarily embarrassed.”

“The first edition [of Los Capricos ] is usually said to have been issued in 1797, but this is an error based upon the discovery of a sketch for the title-page dated in that year. Isolated proofs were to be seen in 1796, but the whole work was not ready until 1798 or 1799. Goya was slowly printing the two hundred copies in an attic workroom he had specially engaged for the purpose at the corner of the Calle de San Bernardino, but for some while the job was completely set aside. He drew up a draft prospectus which was never published.. .This draft belonged to Valentin Carderera.”

“It is the workhttp://www.louvre.fr/en/oeuvre-notices/ferdinand-guillemardet-1765-1809 of a colourist of temperament who sees the tones of nature in all their richness, and who knows how to paint them in their true affinity. Never has a French artist placed in such harmonious relation the three national colours. Goya has thrown the hat with the tricoloured plumes on to a yellow table, against the tricoloured scarf of a person seated on a yellow chair, and clothed entirely in blue. These dissonances mingle in a brilliant concerto which sounds softly to the ear. We forget to notice that the head takes the aspect of a piece of red stained glass by reason of over-reflection. The colours live as if shown through transparent water, or touched by the capricious play of light.”

“[how Goya's mind] grovelled in a hideous Inferno of its own a disgusting region, horrible without sublimity, shapeless as chaos, foul in colour and 'forlorn of light,' peopled by the vilest abortions that ever came from the brain of a sinner. He surrounded himself, I say, with these abominations, finding in them I know not what devilish satisfaction, and rejoicing, in a manner altogether incomprehensible to us, in the audacity of an art in perfect keeping with its revolting subjects. It is the sober truth to say that, in the whole series of these decorations for his house, Goya appears to have aimed at ugliness as Raphael aimed at beauty.. .Enough has been said to show that Goya had made himself a den of foulness and abomination, and dwelt therein, with satisfaction to his mind, like a hyena amidst carcasses.”