Editing Francisco Goya (section)

==Court painter==
{{See also|List of works by Francisco Goya|Paintings for the alameda of the Dukes of Osuna}}

In 1783, the [[José Moñino y Redondo, conde de Floridablanca|Count of Floridablanca]], favorite of [[Charles III of Spain|King Charles III]], commissioned Goya to paint his portrait. He became friends with the King's half-brother [[Infante Luis, Count of Chinchón|Luis]], and spent two summers working on portraits of both the Infante and his family.<ref>Tomlinson (2003), 147</ref> During the 1780s, his circle of patrons grew to include the [[María Josefa Pimentel, Duchess of Osuna|Duke and Duchess of Osuna]], the King and other notable people of the kingdom whom he painted. In 1786, Goya was given a salaried position as a painter to Charles III.

Goya was appointed court painter to Charles IV in 1789. The following year he became First Court Painter, with a salary of 50,000 [[Spanish real|reales]] and an allowance of 500 [[ducat]]s for a coach. He painted portraits of the king and the queen, and the Spanish Prime Minister [[Manuel de Godoy]] and many other nobles. These portraits are notable for their disinclination to flatter; his ''[[Charles IV of Spain and His Family]]'' is an especially brutal assessment of a royal family.{{efn-ua|"Even if one takes into consideration the fact that Spanish portraiture is often realistic to the point of eccentricity, Goya's portrait still remains unique in its drastic description of human bankruptcy". Licht (1979), 68}} Modern interpreters view the portrait as satirical; it is thought to reveal the corruption behind the rule of Charles IV.  Under his reign his wife [[Maria Luisa of Parma|Louisa]] was thought to have had the real power, and thus Goya placed her at the center of the group portrait. From the back left of the painting one can see the artist himself looking out at the viewer, and the painting behind the family depicts [[Lot (biblical person)|Lot]] and his daughters, thus once again echoing the underlying message of corruption and decay.<ref>Hagen & Hagen, 29.</ref>

Goya earned commissions from the highest ranks of the [[Spanish nobility]], including [[Pedro Téllez-Girón, 9th Duke of Osuna]] and his wife [[María Josefa Pimentel, 12th Countess-Duchess of Benavente]], [[José Álvarez de Toledo, Duke of Alba]] and his wife [[María Cayetana de Silva, 13th Duchess of Alba|María del Pilar de Silva]], and [[María Ana de Pontejos y Sandoval, Marchioness of Pontejos]]. In 1801 he painted Godoy in a commission to commemorate the victory in the brief [[War of the Oranges]] against Portugal. The two were friends, even if Goya's [[Portrait of Manuel Godoy|1801 portrait]] is usually seen as satire. Yet even after Godoy's fall from grace the politician referred to the artist in warm terms. Godoy saw himself as instrumental in the publication of the Caprichos and is widely believed to have commissioned ''[[La maja desnuda]]''.<ref>Tomlinson (1991), 59</ref>

{{Multiple image
| image1            = La familia del infante don Luis.jpg
| align             = center
| caption1          = ''[[The Family of the Infante Don Luis]]'', 1784. Magnani-Rocca, [[Parma]]
| caption2          = ''[[Charles IV of Spain and His Family]]'', 1800–01{{efn-ua|[[Théophile Gautier]] described the figures as looking like "the corner baker and his wife after they won the lottery".<ref>Chocano, Carina. "[https://web.archive.org/web/20100530004804/http://www.latimes.com/entertainment/news/movies/cl-et-goya20jul20,1,399263.story?ctrack=1&cset=true Goya's Ghosts]". ''Los Angeles Times'', 20 July 2007. Retrieved 18 January 2008.</ref>}}
| caption3          = ''[[Portrait of Manuel Godoy]]'', 1801. Real Academia de Bellas Artes de San Fernando
| image2            = La familia de Carlos IV, por Francisco de Goya.jpg
| image3            = Francisco de Goya - Godoy como general - Google Art Project.jpg
| total_width       = 700
}}