Francisco Goya

The first fact about Francisco Goya in a public catalog is a date split. The 3rd of May 1808 in Madrid is an 1814 canvas of an 1808 execution (Prado https://www.museodelprado.es/en/the-collection/art-work/the-3rd-of-may-1808-in-madrid/5e177438-32ab-4d1f-8b43-0b65d81e87a6 (opens in a new tab); Smarthistory https://smarthistory.org/goya-third-of-may-1808/ (opens in a new tab)). Los Desastres de la Guerra were etched about 1810–1820 and first published in 1863 (British Museum https://www.britishmuseum.org/collection (opens in a new tab); Academia/Prado edition history). Those are four instruments if one counts both 1814 canvases, not one war picture. 1786 painter-to-the-king (Prado https://www.museodelprado.es/en (opens in a new tab); Britannica https://www.britannica.com/biography/Francisco-Goya (opens in a new tab)) is court service. 1814 continuity under Fernando VII sits beside the same year’s anti-atrocity pair — split, do not rebate. Caprichos, advertised 6 February 1799 (Met Heilbrunn https://www.metmuseum.org/toah/hd/goya/hd_goya.htm (opens in a new tab)), were withdrawn under Inquisition-adjacent pressure and later deposited with the king. The 1815 Nude Maja summons is a morals-tribunal file, not duchess gossip. Occupation-era service under Joseph is documented presence-and-office, medium confidence, not a police order this catalog lacks. Workshop cartoons from 1775 extracted weavers. Black Paintings stayed on private plaster until later transfer. 1824 Bordeaux is displacement. 1863 publication delay is an access harm as well as a door. Offsets are URLs with later dates. 1799 remains public satirical speech, including plate 43. 1814 2 May/3 May are humanitarian-visibility canvases. 1810s Desastres making is an anti-war file even unpublished. 1819 Prado opening, BM print room, Hispanic Society (https://hispanicsociety.org/ (opens in a new tab)), NGA, and Met are later doors. San Fernando admission 1780 is an academic public office. What the score must not say: that 1808 paint is 1808 presence; that 1863 is 1810; that court office is Caprichos; that a firing-squad picture is a statute; that Bordeaux albums unpaid Fernando. Complex contribution is the honest type. Confidence is high on museum dates and advertisements; medium on occupation coefficient and 1898 patriotic capture. 1775 is not 1799. 1799 issue is not 1799 withdrawal. 1808 is not 1814. 1810s copper is not 1863 type. 1823 plaster is not 1880s Prado. Hostile slogan and hagiography are both refused. Off-family padding — a health series nailed to deafness without a public-health instrument — is refused. Keep 1799, 1814, 1810s, 1863, and 1824 on separate dates. 1800) is a large public court-group as dynastic display](/facts/goy-charles-iv-flattery); 1799-02-01 Caprichos plates on Inquisition and superstition make a public file of clerical-judicial terror — and still had to be withdrawn; 1823-09-17 Goya deeds the Quinta to his grandson in 1823 as private property, not a public mural museum; 1790-01-01 Studio assistants and copyists multiply court portraits under the Goya heading; 1799-02-06 Los Caprichos are issued in 1799 as a public satirical print cycle; 1799-02-06 Plate 43, The sleep of reason produces monsters, becomes a public Enlightenment teaching image; 1814-01-01 Goya paints The 3rd of May 1808 in Madrid (1814) as a public anti-atrocity canvas; 1814-06-01 The 2nd of May 1808 in Madrid (1814) pairs as a public anti-occupation street-fight canvas; 1810-01-01 Goya etches Los Desastres de la Guerra from about 1810 as a private anti-war plate cycle; 1826-01-01 Bordeaux late albums and lithographs make a public-and-later-museum file of exile drawing. Later Loeb, UNESCO, and encyclopedia pages are evidence, not additional acts.