|Ties of blood, country and friendship were of great importance in Goya's career. This can be seen in the portraits he painted. He twice painted a portrait of Francisco Bayeu, which says much of the relationship they had (often a case of love/hate). He painted his in-laws several times, including a curious series of circular miniatures.
Of his friends, he painted a portrait of Martín Zapater y Clavería, his old school friend and confidant, with whom he kept up an abundant correspondence. At Court he made friends such as Ceán Bermudez, Jovellanos, Meléndez Valdés and personalities from the worlds of bull-fighting and the theatre. Sebastián Martínez, from Cadiz, a collector of good taste as the inventory of his possessions testified, took Goya into his home during one of the artist's periodic health crises that brought him close to death's door. His fellow Aragoneses, the priest José Duaso and Ramón Satué; protected him during the period of political reprisals at the hands of the absolutists of Fernando VII.
BibliographyGLENDINING, Nigel. Goya : La década de los Caprichos : Retratos 1792-1804. Madrid, 1992. (Catalogue of the exhibition held in the Academia de San Fernando, Madrid).
TOMLINSON, Janis A. Goya en el crepúsculo del Siglo de las Luces. Madrid, 1993. (Or. ed. in Eng.: Goya in the Twilight of Enlightenment. New Haven & London, 1992).
|Gaspar Melchor de Jovellanos|
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