Editing Francisco Goya (section)

== Madrid (1775–1789) ==
{{See also|Francisco Goya's tapestry cartoons|List of Francisco Goya's tapestry cartoons}}
[[File:Caza con reclamo.jpg|180px|thumb|''Caza con reclamo'' (1775)]]
[[File:El Quitasol (Goya).jpg|180px|thumb|''The Parasol'', 1777]]
[[Francisco Bayeu y Subías|Francisco Bayeu]] (Josefa Bayeu's brother), 1765 membership of the Real Academia de Bellas Artes de San Fernando, and directorship of the tapestry works from 1777 helped Goya earn a commission for a series of [[Francisco Goya's tapestry cartoons|tapestry cartoons]] for the Royal Tapestry Factory. Over five years he designed some 42 patterns, many of which were used to decorate and insulate the stone walls of [[El Escorial]] and the [[Royal Palace of El Pardo|Palacio Real del Pardo]], the residences of the Spanish monarchs. While designing tapestries was neither prestigious nor well paid, his cartoons are mostly popular in a [[rococo]] style, and Goya used them to bring himself to wider attention.<ref name="hh7">Hagen & Hagen, 7</ref>

The cartoons were not his only royal commissions and were accompanied by a series of engravings, mostly copies after old masters such as [[Marcantonio Raimondi]] and [[Diego Velázquez|Velázquez]]. Goya had a complicated relationship with the latter artist; while many of his contemporaries saw folly in Goya's attempts to copy and emulate him, he had access to a wide range of the long-dead painter's works that had been contained in the royal collection.<ref>Hughes (2004), 95</ref> Nonetheless, etching was a medium that the young artist was to master, a medium that was to reveal both the true depths of his imagination and his political beliefs.<ref>Hagen; Hagen (1999), 7</ref> His {{Circa|1779}} etching of ''The Garrotted Man'' ("El agarrotado"<ref>{{Cite web |title=print study {{!}} British Museum |url=https://www.britishmuseum.org/collection/object/P_1875-0612-95 |access-date=7 November 2022 |website=The British Museum |language=en}}</ref>) was the largest work he had produced to date, and an obvious foreboding of his later "[[The Disasters of War|Disasters of War]]" series.<ref>Hughes (2004), 96</ref>

[[File:Goya - The Garroted Man.jpg|thumb|140px|''The Garroted Man'', before 1780. [[National Gallery of Art]], Washington, D.C.]]
Goya was beset by illness, and his condition was used against him by his rivals, who looked jealously upon any artist seen to be rising in stature. Some of the larger cartoons, such as ''The Wedding'', were more than 8 by 10 feet, and had proved a drain on his physical strength. Ever resourceful, Goya turned this misfortune around, claiming that his illness had allowed him the insight to produce works that were more personal and informal.<ref>Hughes (2004), 130</ref> However, he found the format limiting, as it did not allow him to capture complex color shifts or texture, and was unsuited to the [[impasto]] and [[Glaze (painting technique)|glazing]] techniques he was by then applying to his painted works. The tapestries seem as comments on human types, fashion and fads.<ref>Hughes (2004), 83</ref>

Other works from the period include a canvas for the altar of the [[San Francisco el Grande Basilica, Madrid|Church of San Francisco El Grande]] in Madrid, which led to his appointment as a member of the Royal Academy of Fine Art.