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Francisco de Goya y Lucientes was born in Aragón, where he spent an essential period of his life: that in which his peculiar human and artistic personality was developed.

Looking at most of the work of this turbulent painter, it is easy to guess to what an extent the author's vicissitudes had an influence in the course his painting took.

It was during his childhood and youth years in Aragón that his character started to mould: a belligerent and pitiless character against hypocrisy, ignorance and foolishness.

Later, having been a witness of horror, poverty and cruelty during the siege of Zaragoza, he opened his painting's doors to heart-rending visions that would gradually become his most personal means of expression. It is precisely that feature that makes the work of the Aragonese genius an art that goes beyond any frontier.

Ruinas de Belchite

We just have to observe the landscape from the ruins of Fuendetodos castle to appreciate some of the sharpest touches of his work. Goya always carried that landscape inside, a landscape whose harshness is deeply rooted in this land's inhabitants and in any traveller who stops to look at it.

From the painter's relationship with Aragón we have been left memories, as well as important works of art. Their mere existence is an invitation to participate in the symbiosis that allows us to know Goya through Aragón and viceversa.


ROUTE 1 (one day)

Zaragoza: El Pilar, Carthusian Monastery of Aula Dei, Museum of Fine Arts.

Fuendetodos: Goya's Birthplace and Engraving Museum.

ROUTE 2 (three days)

Zaragoza: El Pilar, Carthusian Monastery of Aula Dei, Museum of Fine Arts, Camón Aznar Museum, Archbishopric Palace.

Fuendetodos: Goya's Birthplace and Engraving Museum.

Huesca: Provincial Museum.

Calatayud: Church of San Juan el Real.

Muel: Hermitage of Nuestra Señora de la Fuente.

Remolinos: Parish church.

Pedrola: Palace of the Duchess of Villahermosa.



On the 30th March, 1746, Francisco de Goya y Lucientes is born in Fuendetodos (Zaragoza), son of José Goya, an altarpieces gilder, and of Gracia Lucientes.


During his childhood he studies in Zaragoza and around 1760 he enters the studio of the painter José de Luzán. There he receives his first artistic training and meets Francisco Bayeu, who would become later his brother-in-law.


His first steps as an artist are not easy: in 1763 and 1766 he participates in two contests organized by the Royal Academy Of Fine Arts of San Fernando in Madrid, but he cannot obtain any prize.


About 1763 he paints the Relics Cupboard of Fuendetodos church, destroyed during the last Civil War. He also paints The Consecration of San Luis Gonzaga as Patron of Youth.


In 1766 he decorates the pendentives of the dome in the church of San Juan el Real (Calatayud) with The Fathers of the Western Church.


In 1771 he goes back to Zaragoza after a short trip to Italy and paints Saint Joseph's Dream.


In 1772 he paints the fresco The Adoration of God's Name (or The Glory) for the dome of El Pilar's coreto, commissioned by the Chapter. From this period is as well the decoration of the hermitage of Nuestra Señora de la Fuente in Muel and of the Parish church in Remolinos.


In 1773 he marries María Josefa Bayeu, Francisco's sister. A year later he makes the series of mural paintings for the Carthusian monastery of Aula Dei.


Around 1775 he paints San Francisco Javier's Death and The Virgin of El Pilar in Glory. That year he starts working in Madrid for the Royal Tapestry Factory, directed by Mengs. His first cartoons represent hunting and fishing scenes, popular and bullfighting topics. He will keep this job till 1792. Then his brothers-in-law, Francisco and Ramón Bayeu, introduce him in the Court's circles.


In 1780 he enters the Royal Academy of Fine Arts of San Fernando as meritorious member, and paints his Crucified Christ. During this year and the following one he paints the Regina Martyrum dome in El Pilar of Zaragoza. From 1781 is San Luis Gonzaga and from 1782 the portrait of Antonio Veián y Monteagudo.


From 1783 he consolidates his career as a portrait painter, giving his characters a great psychological deepness. His work is more and more appreciated and in 1786 Carlos III appoints him King's Painter. Three years later, Carlos IV will choose him as Royal Painter.


Around 1788 he paints the portraits of José Cistué y Coll, Isabel of Borbón and Margarita of Austria.


In 1789 he paints the portraits of Carlos IV and of María Luisa of Parma; both are now in the Museum of Fine Arts in Zaragoza. In 1790 he paints the portrait of Ramón Pignatelli.


In 1792 he suffers a severe illness that will leave him deaf for the rest of his life, a fact that will mark the personality and the work of the Aragonese artist.


In 1795 he is appointed Painting Director of San Fernando. In that year he paints the portrait of the Duchess of Alba.


In 1797 he starts working on the series of engravings known as Los Caprichos (The Caprices), published two years later.


In 1799, Goya receives from Carlos IV the appointment of First Royal Painter. Approximately a year later he finishes the paintings known as La Maja Vestida and La Maja Desnuda (The dressed lady and The naked lady), as well as the portraits of the Countess of Chinchón and Joaquín Company.


In the first years of the new century, Goya keeps painting works of courtly atmosphere, such as The family of Carlos IV (1801). From 1805 is the portrait of the Aragonese naturalist Félix de Azara.


At the end of October 1808, at the request of General Palafox, he gathers the visions of looting, plague and moaning, of which he is a witness in Zaragoza.


Two years later, in 1810, he starts the series of engravings called The Disasters of the War.


In 1812 his wife, María Josefa Bayeu, dies.


In 1814 he paints the equestrian portrait of General Palafox, as well as two of his most emblematic works: La Carga de los Mamelucos (The Mameluke Charge) and Los Fusilamientos del 3 de Mayo (The Executions of the 3rd May). He also makes the portraits of Fernando VII and the Duke of San Carlos, commissioned by Aragón's Imperial Channel Council.


From 1815 is the oil El Baile de Máscaras (The Masks Ball). Once finished, Goya sells in 1816 the series of engravings called La Tauromaquia (The Bullfighting).


Between 1819 and 1823 he continues working as an engraver and publishes the series known as Los Disparates or Los Proverbios (The Foolishness or The Proverbs). In 1819, Francisco de Goya buys La Quinta del Sordo (The Deafman's House). On the walls of this house by the banks of the river Manzanares he will paint his expressionist murals known as Las Pinturas Negras (The Black Paintings).

In 1824, with the excuse of having medicinal waters, he asks Fernando VII's permission and goes to France. First he travels to Paris, but he settles in Bordeaux.


In 1825, the engravings called Los Toros de Burdeos (The Bulls of Bordeaux) are printed.

Francisco de Goya dies on the 16th April 1828 in Bordeaux. His body rests today in the hermitage of San Antonio de la Florida in Madrid.


Tourist Routes in Aragon


Ample your information on Aragon

If you want to extend your information on Aragon you can begin crossing another interesting route is the Mudejar, Patrimony of the Humanity, also you can extend your cultural knowledge on Aragon examining its municipal and institutional heraldry without forgetting, of course, some of its emblematics figures as Saint George Pattern of Aragon also book of Aragon.

Also Aragon enjoys a diverse and varied Nature where passing by plants, animals or landscapes we can arrive at a fantastic bestiario that lives in its monuments.

The information will not be complete without a stroll by its three provinces: Zaragoza, Teruel and Huesca and his shines, with shutdown in some of its spectacular landscapes like Ordesa, the Moncayo or by opposition the Ebro.

Also you can dedicarte to the intangible ones: from the legend compilation that also does to universal Aragon you can persecute the presence of del Santo Grial in Aragon.

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The pasapues project is an extension of the Aragón project is like that, and tries to collect and relate all possible types of documentary information about Aragon: texts, books, articles, maps, illustrations, photographs, narrations, etc., and proceed to its publication and diffusion.

FRANCISCO DE GOYA Y LUCIENTES Zaragoza: El Pilar, Cartuja del Aula Dei, Museo de Bellas Artes, Museo Camon Aznar, Palacio Arzobispal. Fuendetodos: Casa Natal y Museo del Grabado. Huesca: Museo Provincial. Calatayud: Iglesia de San Juan el Real. Muel: Ermita de Nuestra Seora de la Fuente. Remolinos: Iglesia Parroquial. Pedrola: Palacio de la Duquesa de Villahermosa.

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