Francisco Goya citáty

letter c. 1809, to the Secretary of the Academy of San Fernando in Madrid; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003; p. 282 & note 13
Goya gave in this way his excuse he gave the Secretary of the Academy of San Fernando in Madrid, explaining why he could not be at the inauguration of the portrait, Goya had made of king Ferdinand VII, recently
1800s

In a report, 1792 which Goya was invited to write to the Academy of San Fernando on the subject of teaching art; as cited by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 126
at the end of 1792 Goya abruptly broke off work on his tapestry designs and left Madrid for the South. In Jan. 1793 he wrote a note: 'had been ill for two months and asked permission to stop designing and go to Sevilla to recuperate'. There are no more letters written by Goya then; no one can say more about this crisis / illness, according to Robert Hughes
1790s

1790s
Varianta: The sleep of reason produces monsters.

quoted by Albert Frederick Calvert, in Goya; an account of his life and works; publisher London J. Lane, 1908; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, pp. 355-377
Goya wrote this inscription upon a later copy of the etching-plate Capricho no. 43
1790s

letter to Joaquín Ferrer, Bordeaux, End of 1825; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 390 & note 8
Goya's quote indicates how quickly he learned the for him new print method of lithography; the litho-prints here referred became collective known as the 'Bulls of Bordeaux' https://commons.wikimedia.org/wiki/File:Bullfight_in_a_divided_ring,_from_the_%27Bulls_of_Bordeaux%27_MET_270385.jpg https://commons.wikimedia.org/wiki/File:A_picador_caught_by_a_bull,_from_the_%27Bulls_of_Bordeaux%27_MET_MM7175.jpg; and the rarest Goya-prints because they were published in a small edition of one hundred sets by the Bordeaux printer Gaulon.
1820s

from his Letters 263-264. circa 1801; in Goya, A life in Letters, edited and introduced by Sarah Simmons; translations by Philip Troutman, London, Pimlico, 2004
Early 1801 - Goya was then First Painter of the Court - the artist is sent to check the results of some restoration operated on works belonging to the Spanish crown. His 263-264 letters reveal the total opposition of Goya against any cleaning or restoration of older paintings
1800s

letter to his friend Don Martín Zapater https://www.wikidata.org/wiki/Q3915977, June 1786; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 81
Goya was already forty then; the four painters should paint the designs of all the new tapestries for the royal palace; their designs were then woven in the Royal Tapestry Factory
1780s

letter 206, c. 1787; in Goya, A life in Letters, edited and introduced by Sarah Simmons; transl. Philip Troutman, London, Pimlico, 2004
Goya understands that the social role he has reached (he is royal painter from 1789) will prevent him from attending places where people sing http://letteraturaartistica.blogspot.nl/2015/09/goya-life-in-letters-edited-and.html
1780s

letter to his friend Bernardo de Iriarte, 7 Jan, 1794; as quoted by Jane Kromm, in The art of frenzy, 2002, p. 194 https://en.wikipedia.org/wiki/Yard_with_Lunatics
The painting 'Yard with Lunatics' (Spanish: Corral de locos) is a small oil-on-tinplate painting completed by Goya between 1793 and 1794; Goya says here that the painting was informed by scenes of institutions he witnessed in his youth in Zaragoza
1790s

1820s

title of Capricho no. 77 and Goya's inscription on this plate; from Paul Lefort, in Francisco Goya: etude biographique et critique, suivi de l'essai d'un catalogue raisonne de son oeuvre grave et lithographe; published in the 'Gazette des Beaux-Arts', February, 1867; April, 1867; February, 1868; April, 1868; August, 1868
1790s

as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, pp. 355-377
Goya wrote this explanatory comment on the plate of Capricho no. 6
1790s

letter to his friend Bernardo de Iriarte, deputy of the Royal Academy of San Fernando in Madrid, Jan. 1794; as quoted in 'Goya and Iriarte', in Goya his Life and Work, P. Gassier and J. Wilson, 1971, p. 382
cabinet paintings were small portable paintings, which did not need a lot of wall-space and could be moved around at the owner's whim. Goya's famous series 'Caprichos' really begin after physical and probably mental breakdown in 1792. He was 46, and thereafter deaf until his death in 1828
1790s

inscription by Goya, 1820
Goya painted this long inscription in 1820, - in the tradition of the ex-votos in the churches - in the double-portrait, [of his friend, and of Goya himself as the patient], he made of his doctor Eugenio Garciá Arrieta who helped him in 1819 with a severe illness
1820s

letter to his friend Martín Zapater, https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg, February, 1790, from Francisco Zapater y Gomez: Goya; Noticias biograficas, Zaragoza, 1868, La Perse Verencia, p. 50
Goya is reacting on a request to borrow money, which arouses his quick protest
1790s

Goya, in a recall of an overheard conversation
conversation of c. 1808, in the earliest biography of Goya: Goya, by Laurent Matheron, Schulz et Thuillié, Paris 1858; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 176
probably not accurate word for word, but according to Robert Hughes it rings true in all essentials, of the old Goya, in exile
1800s

letter to his friend Don Martín Zapater, c. 1784; taken from Francisco Zapater y Gomez : Goya; Noticias biograficas, Zaragoza, 1868, La Perseverencia, p. 58
1780s

letter to his friend Don Martín Zapater https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg, Feb. 1784; as quoted in Goya, A life in Letters, edited and introduced by Sarah Simmons; translations by Philip Troutman, London, Pimlico, 2004
The reference to the occult and the world of demons, which then will populate the art of Goya during the 1800's, takes form in a couple of occasions Goya wrote to his friend Martín that he is a painter-demon. http://letteraturaartistica.blogspot.nl/2015/09/goya-life-in-letters-edited-and.html
1780s

letter to his friend Martín Zapater https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg, March 1793; from: 'Francisco de Goya. MS Letters to Martín Zapater 1774-99', Collection of Prado - published as Cartas a Martín Zapater; ed, X. de Salas & M. Agueda, Madrid 1982, p. 211; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 127
Goya started to become deaf then, had fainting fits and spells of semi-blindness. From 1793 onward [he was 46] he became functionally deaf, till his death
1790s

letter to his friend Don Martín Zapater, c. 10 December 1784; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, p. 134-135
Ventura Rodriquez, chief of the architects in Madrid was building the church of San Francisco el Grande. Pictures would be required for the seven altars. Goya had chosen for his subject St. Bernardino de Siena, crucifix in hand, preaching from a rock, by the light of a star, to King Alfonso of Aragon and his courtiers. He was selected as one of the painters of the altars.
1780s

Caption, in the so-called Madrid Album 90: sketch-book of Goya, 1796-97; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 173-74
caption below a drawing, in brush and India ink – private collection
1790s
Originál: Nobia, Discreta y arrenpentida a sus padres se presenta en esta forma.

a note on an etching-plate, 1795/96; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, p. 195
Plate 61 of 'Los Caprichos' represents a beautiful lady flying with outstretched arms in butterfly fashion, but supported at the feet by three grotesque creatures crouched in the attitude of the carved misers under monkish stalls. Upon a copy of this plate Goya scrawled this note
1790s

1790s, Goya's announcement about 'Los Caprichos', 6 Febr. 1799

1790s, Goya's announcement about 'Los Caprichos', 6 Febr. 1799

letter to the Minister, Don Miguel Cayetano Soler, Madrid, October 9, 1803; as quoted in the 'Gazette des Beaux-Arts', 1860, p. 241, and reproduced in facsimile in Mr. Calvert's monograph, p. 88; also by Valerian von Loga: Francisco de Goya, Berlin, 1903, p. 77
1800s

biographical notice, quoted by Goya's son Javier Goya, cited by Valentín de Carderera; cited in Goya: The frescoes in San Antonia de la Florida, by Lafuente de Ferrari. Skira, 1955, p. 144, n. 24.
1800s

'Fatales consequensias de la sangrienta guerra en Espanã con Buonaparte. Y otros caprichos enfáticos'
the official title of Goya's series of 80 undated etchings he started to make in 1808 on the Peninsular War between France and Spain (1808-1814); most war activities and cruelties took place in Spain. None of these etchings were printed in Goya's lifetime.
1800s

letter to Javier (his only son), from Madrid, Summer of 1827; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 401 – note 15
1820s

letter to his friend Martín Zapater https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg, n.p. Madrid, 10 November 1790, at Christies website
The illness (probably chickenpox) of his only surviving son, Francisco Javier, also meant that Goya would be kept from his duties as 'pintor da camara' at the palace, because of forty days quarantine. http://www.christies.com/lotfinder/Lot/goya-y-lucientes-francisco-de-1746-1828-autograph-4939859-details.aspx
1790s