Patrick Bade
Goya, Part 1
Summary
Francisco Goya (1746–1828) was a Spanish romantic painter and printmaker from the late 18th Century. In this lecture, Patrick Bade discusses the striking contrast between Goya’s early work emphasizing the difference in style and the historical context compared to his later work. Goya’s unique position as a painter is on par with renowned artists like Rembrandt, Velázquez, and Vermeer. His works go beyond artistic skill, offering a profound reaction to the tumultuous events of his time. Part 1 of 2.
Patrick Bade
Patrick Bade is a historian, writer, and broadcaster. He studied at UCL and the Courtauld Institute of Art. He was a senior lecturer at Christie’s Education for many years and has worked for the Art Fund, Royal Opera House, National Gallery, and V&A. He has published on 19th- and early 20th-century paintings and historical vocal recordings. His latest book is Music Wars: 1937–1945.
I think highly unlikely. The only possibility of him knowing Shahda’s work would have to have been right at the end of his life. I’m sure he went to the Louvre, so he could have seen Shahda’s work at that point, but it’s not a direct influence.
That’s possible. The Nightmare was a very, very famous painting. And Goya was certainly interested in prints, and I think he could have seen a print reproduction of Fuseli.
Simple reason, that the artist is paid. I mean people don’t usually pay a portrait who doesn’t flatter them. And an artist wants to make a living.
They’re totally different print methods. Engraving doesn’t involve the use of wax and acid and all these things. It’s a much more laborious way of making a print.