1 00:00:00,500 --> 00:00:02,380 Welcome to Great Art. 2 00:00:02,380 --> 00:00:05,620 For the past few years, we've been filming in the biggest exhibitions, 3 00:00:05,620 --> 00:00:07,620 art galleries and museums in the world, 4 00:00:07,620 --> 00:00:11,660 exploring some of the greatest artists and art in history. 5 00:00:11,660 --> 00:00:13,900 Not only do we record landmark shows, 6 00:00:13,900 --> 00:00:17,100 but we also secure privileged access behind the scenes. 7 00:00:17,100 --> 00:00:19,820 We then use this as a springboard to take a broader look 8 00:00:19,820 --> 00:00:22,140 at extraordinary artists. 9 00:00:22,140 --> 00:00:24,620 A short while ago, The National Gallery in London 10 00:00:24,620 --> 00:00:28,060 held a show that was soon twinkling with five-star reviews. 11 00:00:28,060 --> 00:00:30,660 The show - many, many years in preparation - 12 00:00:30,660 --> 00:00:33,100 was called Goya: The Portraits. 13 00:00:33,100 --> 00:00:35,420 Working with the museum and its curators, 14 00:00:35,420 --> 00:00:39,060 we took this opportunity to re-examine the complex nature 15 00:00:39,060 --> 00:00:43,620 of one of art's most revolutionary, passionate and popular artists. 16 00:02:12,380 --> 00:02:15,220 Painting, like poetry, 17 00:02:15,220 --> 00:02:19,260 selects from among the universal that which it judges 18 00:02:19,260 --> 00:02:22,020 most appropriate for its purpose. 19 00:02:22,020 --> 00:02:25,060 It unites in a single imaginary being 20 00:02:25,060 --> 00:02:30,380 circumstances and characters which Nature presents distributed in many, 21 00:02:30,380 --> 00:02:34,620 and it is in this unity, skilfully contrived, 22 00:02:34,620 --> 00:02:39,660 that true imitation is achieved, by which the good artist acquires 23 00:02:39,660 --> 00:02:44,340 the title of inventor and not that of servile copyist. 24 00:03:33,860 --> 00:03:38,220 And this sort of ridge of paint is the original edge of the red. 25 00:03:38,220 --> 00:03:41,060 The jacket... So, this black came in later. 26 00:03:45,260 --> 00:03:47,820 LIFT BEEPS 27 00:03:49,140 --> 00:03:54,220 Goya sits in-between the two great luminaries of Spanish painting - 28 00:03:54,220 --> 00:03:56,220 Velazquez in the 17th century, 29 00:03:56,220 --> 00:03:59,020 and, of course, Picasso in the 20th century. 30 00:03:59,020 --> 00:04:00,780 And Goya's right there in the middle, 31 00:04:00,780 --> 00:04:02,980 kind of straddling the old world, 32 00:04:02,980 --> 00:04:06,700 the Ancien Regime on the one hand and modernity on the other. 33 00:04:06,700 --> 00:04:09,140 So he's a figure that's right at the crossroads 34 00:04:09,140 --> 00:04:12,100 of how we think our history has developed. 35 00:04:12,100 --> 00:04:16,500 Now, he's an artist who looks upon the world with great curiosity, 36 00:04:16,500 --> 00:04:19,420 with a kind of piercing intelligence. 37 00:04:19,420 --> 00:04:22,100 It shows Goya as somebody who kind of stands apart, 38 00:04:22,100 --> 00:04:23,860 who stands outside his time. 39 00:04:23,860 --> 00:04:26,740 Why are we still interested in Goya 200 years later? 40 00:04:26,740 --> 00:04:29,900 Well, it's really because he has this very focussed 41 00:04:29,900 --> 00:04:32,220 and very profound vision. 42 00:04:32,220 --> 00:04:34,620 It's a Goya very much who takes us on a journey. 43 00:04:34,620 --> 00:04:37,380 He takes us on a journey through the history of Spain 44 00:04:37,380 --> 00:04:39,980 at the end of the 18th century, the beginning of the 19th century - 45 00:04:39,980 --> 00:04:41,220 very turbulent times - 46 00:04:41,220 --> 00:04:45,260 but he's also an artist who takes us on a sort of personal journey. 47 00:04:45,260 --> 00:04:49,060 When thinking about this project, I was very keen to tell the story 48 00:04:49,060 --> 00:04:52,540 of Goya's development as a portrait painter. 49 00:04:52,540 --> 00:04:55,940 And what's amazing is that each portrait he does, he rethinks it. 50 00:04:55,940 --> 00:04:59,740 He rethinks his approach, he rethinks how to make his sitter sit, 51 00:04:59,740 --> 00:05:02,380 what kind of lighting, what kind of format, 52 00:05:02,380 --> 00:05:04,220 and it's progressive. 53 00:05:04,220 --> 00:05:06,100 It doesn't stop, he doesn't repeat himself. 54 00:05:06,100 --> 00:05:07,580 He had a very long life. 55 00:05:07,580 --> 00:05:09,100 He lived until he was 82, 56 00:05:09,100 --> 00:05:12,380 and his life spanned part of the 18th century but also went 57 00:05:12,380 --> 00:05:15,100 well into the 19th century and spanned not just a period 58 00:05:15,100 --> 00:05:17,300 of great political change in Spain, 59 00:05:17,300 --> 00:05:20,260 but also a great personal and artistic journey. 60 00:05:20,260 --> 00:05:23,180 I mean, his style really, really changed in that time. 61 00:05:23,180 --> 00:05:25,580 His style also... Purely seen through the portraits, 62 00:05:25,580 --> 00:05:27,260 you can see how stark the contrast is 63 00:05:27,260 --> 00:05:30,500 between his first portrait commission and the very last. 64 00:05:31,740 --> 00:05:33,700 I think most people, when they think of Goya, 65 00:05:33,700 --> 00:05:35,660 they think of the Black Paintings, 66 00:05:35,660 --> 00:05:38,140 or they think of his Caprichos etchings, 67 00:05:38,140 --> 00:05:40,020 or, of course, the Naked Maja. 68 00:05:40,020 --> 00:05:42,380 They don't immediately think of him as a portrait painter, 69 00:05:42,380 --> 00:05:44,580 but, really, that's how he wanted to be remembered. 70 00:05:44,580 --> 00:05:49,100 And, in fact, about a third of his output is portraits, 71 00:05:49,100 --> 00:05:51,580 and that's very much how he wanted to be remembered. 72 00:05:51,580 --> 00:05:52,980 It's what he strove to be. 73 00:05:52,980 --> 00:05:55,700 He wanted to be the Royal portrait painter. 74 00:07:06,900 --> 00:07:11,420 His paintings are about the sitter, about their position. 75 00:07:11,420 --> 00:07:13,420 They tend to be middle-class sitters, 76 00:07:13,420 --> 00:07:15,460 particularly towards the end of his life. 77 00:07:15,460 --> 00:07:18,780 He makes them look very modern, and, indeed, they were at the time, 78 00:07:18,780 --> 00:07:21,060 but they connect very well with 19th-century painters 79 00:07:21,060 --> 00:07:23,420 such as Degas, Manet, and later on, 80 00:07:23,420 --> 00:07:26,700 Picasso and even Freud to a certain extent. 81 00:08:06,860 --> 00:08:12,140 Francisco de Goya was born 30th March, 1746 82 00:08:12,140 --> 00:08:14,700 in the tiny village of Fuendetodos 83 00:08:14,700 --> 00:08:17,500 in the Northern Spanish province of Aragon. 84 00:08:17,500 --> 00:08:21,220 Before long, his family had moved to Zaragoza, 85 00:08:21,220 --> 00:08:25,100 where, as he reached adulthood, he trained to become a painter 86 00:08:25,100 --> 00:08:27,300 and enjoyed country life, 87 00:08:27,300 --> 00:08:30,780 though his ambition grew for greater success. 88 00:08:39,260 --> 00:08:42,420 'In terms of his character, he seems to have been able to be 89 00:08:42,420 --> 00:08:44,700 'what the Spaniards call "campechano", 90 00:08:44,700 --> 00:08:47,500 'which means he was very close to the ordinary folk. 91 00:08:47,500 --> 00:08:51,740 'He loved to go out into the country and have a drink with friends. 92 00:08:51,740 --> 00:08:55,260 'He loved hunting. That was an activity not only the very rich did, 93 00:08:55,260 --> 00:08:59,620 'but, of course, people from all parts of society in the countryside. 94 00:08:59,620 --> 00:09:02,620 'He was also a very sophisticated man of the city. 95 00:09:02,620 --> 00:09:04,100 'We know a lot about him 96 00:09:04,100 --> 00:09:08,540 'because there's a lot of personal correspondence from him.' 97 00:09:08,540 --> 00:09:13,500 Goya was essentially a self-trained artist, unlike his contemporaries, 98 00:09:13,500 --> 00:09:17,780 who had studied and drawn endless life models and plaster casts. 99 00:09:17,780 --> 00:09:19,420 But he was just as ambitious. 100 00:09:19,420 --> 00:09:23,060 In 1763 and 1766, 101 00:09:23,060 --> 00:09:27,980 he submitted entries to Spain's Royal Academy of Fine Art in Madrid 102 00:09:27,980 --> 00:09:30,780 but was rejected on both occasions. 103 00:09:30,780 --> 00:09:36,340 Undeterred, he decided the best next step was to travel to Italy 104 00:09:36,340 --> 00:09:38,740 to study the Old Masters. 105 00:09:38,740 --> 00:09:42,540 He was desperate to learn and record what stood in front of him. 106 00:09:42,540 --> 00:09:47,260 This is clearly demonstrated in an extremely rare sketchbook 107 00:09:47,260 --> 00:09:49,900 which was rediscovered in 1993 108 00:09:49,900 --> 00:09:52,460 and is stored at the Prado Museum in Madrid. 109 00:09:53,700 --> 00:09:57,100 TRANSLATION FROM SPANISH: 110 00:11:26,500 --> 00:11:29,820 When Goya returned from Italy to Zaragoza, 111 00:11:29,820 --> 00:11:33,340 he was amongst several painters employed to paint religious scenes 112 00:11:33,340 --> 00:11:36,420 in monasteries and grand cathedrals like El Pilar. 113 00:11:38,820 --> 00:11:42,820 In 1773, he married Josefa Bayeu, 114 00:11:42,820 --> 00:11:45,660 of a prominent family of painters with good connections 115 00:11:45,660 --> 00:11:47,380 to the Spanish Court. 116 00:11:47,380 --> 00:11:51,500 His big break came in 1775, 117 00:11:51,500 --> 00:11:54,500 when he was invited to the court in Madrid 118 00:11:54,500 --> 00:11:58,740 to paint a series of paintings known as "tapestry cartoons" 119 00:11:58,740 --> 00:12:01,260 because they were used as guides for the weavers 120 00:12:01,260 --> 00:12:03,980 at the Royal Tapestry Factory of Santa Barbara, 121 00:12:03,980 --> 00:12:05,900 located in the centre of the city. 122 00:12:07,140 --> 00:12:11,460 These tapestry cartoons were colourful works that recorded 123 00:12:11,460 --> 00:12:15,060 contemporary life in Madrid and the surrounding countryside. 124 00:12:15,060 --> 00:12:19,860 They depicted ordinary people having picnics, dancing, 125 00:12:19,860 --> 00:12:23,020 playing games and generally enjoying themselves. 126 00:12:23,020 --> 00:12:25,940 These were scenes that the king, Charles III, 127 00:12:25,940 --> 00:12:28,940 wanted as a way of showing they were in tune 128 00:12:28,940 --> 00:12:31,220 with the contemporary lives of their subjects. 129 00:12:33,980 --> 00:12:37,780 Goya worked hard producing these cartoons for the tapestries 130 00:12:37,780 --> 00:12:42,300 that were to be hung on the cold stone walls of the royal palaces, 131 00:12:42,300 --> 00:12:45,660 such as El Escorial to the north of Madrid 132 00:12:45,660 --> 00:12:48,940 and the royal residences in and around the capital. 133 00:12:50,380 --> 00:12:52,620 His efforts were rewarded. 134 00:12:52,620 --> 00:12:57,180 In 1781, he received his first major public commission. 135 00:13:27,260 --> 00:13:30,940 This is the Basilica of San Francisco el Grande, 136 00:13:30,940 --> 00:13:32,740 which was commissioned by Charles III 137 00:13:32,740 --> 00:13:35,300 and built in Goya's lifetime. 138 00:13:35,300 --> 00:13:39,340 And in 1783, seven painters were called upon 139 00:13:39,340 --> 00:13:41,580 to decorate the main altarpieces. 140 00:13:41,580 --> 00:13:46,100 Goya painted this altarpiece here of San Bernardino of Siena. 141 00:13:46,100 --> 00:13:48,780 And he took this very seriously because he wasn't yet 142 00:13:48,780 --> 00:13:51,380 a court-salaried painter, the others were, 143 00:13:51,380 --> 00:13:53,140 but this was his chance to prove himself. 144 00:13:53,140 --> 00:13:57,100 And he says in his letters that this was a "competencia formal", 145 00:13:57,100 --> 00:13:59,140 a formal competition. 146 00:13:59,140 --> 00:14:01,100 At the same time that he was painting this, 147 00:14:01,100 --> 00:14:05,340 Goya received a portrait commission from the Count of Floridablanca, 148 00:14:05,340 --> 00:14:08,100 which was his first official portrait, and in it, 149 00:14:08,100 --> 00:14:12,700 Goya shows himself showing Floridablanca a small painting. 150 00:14:12,700 --> 00:14:14,900 And I wouldn't be surprised if that small painting 151 00:14:14,900 --> 00:14:18,260 was actually a sketch for this big altarpiece here. 152 00:14:18,260 --> 00:14:21,980 So, everything is related somehow, and this is his moment, really, 153 00:14:21,980 --> 00:14:24,740 to prove himself among other Spanish painters. 154 00:14:24,740 --> 00:14:29,900 But the painting, in terms of the portrait aspect, is key, 155 00:14:29,900 --> 00:14:31,820 because it's a major breakthrough. 156 00:14:31,820 --> 00:14:34,380 What we have here is San Bernardino, 157 00:14:34,380 --> 00:14:36,580 this ascetic saint, preaching to the people. 158 00:14:36,580 --> 00:14:38,140 He was a great speaker. 159 00:14:38,140 --> 00:14:40,500 It's meant to be L'Aquila, 14th century, 160 00:14:40,500 --> 00:14:43,700 but he decides to go for a 17th-century context. 161 00:14:43,700 --> 00:14:46,700 They're all dressed in 17th-century clothes, 162 00:14:46,700 --> 00:14:49,700 and in doing so, Goya is paying respect to Velazquez 163 00:14:49,700 --> 00:14:51,940 and to one picture specifically, 164 00:14:51,940 --> 00:14:55,500 which is The Surrender Of Breda, where, in that picture, 165 00:14:55,500 --> 00:14:57,860 we see men in similar costumes. 166 00:14:57,860 --> 00:15:01,180 But right to the far right, there is a man looking out at you, 167 00:15:01,180 --> 00:15:03,940 and we all think that is Velazquez himself. 168 00:15:03,940 --> 00:15:05,980 Goya does the same thing here. 169 00:15:05,980 --> 00:15:08,180 Among all these gentlemen looking up, 170 00:15:08,180 --> 00:15:10,940 there is one man looking straight at you, 171 00:15:10,940 --> 00:15:12,500 and it's the young Goya himself. 172 00:15:12,500 --> 00:15:15,380 36 years old, with ambition... 173 00:15:15,380 --> 00:15:21,220 And here he's smartened up, his gaze is fixed on the viewer, 174 00:15:21,220 --> 00:15:23,500 on the people praying before his altarpiece, 175 00:15:23,500 --> 00:15:25,540 and I think he would have enjoyed that, 176 00:15:25,540 --> 00:15:29,180 the idea of people kneeling before this large altarpiece, 177 00:15:29,180 --> 00:15:32,420 praising it from an artistic point of view and then suddenly realising, 178 00:15:32,420 --> 00:15:37,420 "Ah, but it's Francisco de Goya," this young aspiring painter. 179 00:15:37,420 --> 00:15:40,060 "Dear Martin, 180 00:15:40,060 --> 00:15:42,580 "so, shooting... 181 00:15:42,580 --> 00:15:47,860 "I cannot get it out of my head that the season for thrushes is near, 182 00:15:47,860 --> 00:15:51,140 "and were it not for the San Francisco painting, 183 00:15:51,140 --> 00:15:55,180 "I wouldn't have to care a fig for what others may think - 184 00:15:55,180 --> 00:15:57,460 "just do what pleases me, 185 00:15:57,460 --> 00:16:01,140 "and let those who involve themselves in intrigues 186 00:16:01,140 --> 00:16:04,900 "at the court and society stay in their own muck, 187 00:16:04,900 --> 00:16:09,500 "for it is clear to me that the covetous neither live 188 00:16:09,500 --> 00:16:12,380 "nor know where they live." 189 00:16:12,380 --> 00:16:16,460 Much of what we know about Goya himself and his life 190 00:16:16,460 --> 00:16:19,980 from the beginning of his career in Madrid 191 00:16:19,980 --> 00:16:24,180 is in the letters that Goya wrote to his friend. 192 00:16:24,180 --> 00:16:28,420 Martin Zapater was from Zaragoza, 193 00:16:28,420 --> 00:16:32,740 and he grew up on the school benches with Goya. 194 00:16:32,740 --> 00:16:34,620 They were childhood friends, 195 00:16:34,620 --> 00:16:38,140 and it was a friendship which lasted until, in fact, 196 00:16:38,140 --> 00:16:41,060 Zapater died in 1803. 197 00:16:41,060 --> 00:16:44,940 And they loved each other, 198 00:16:44,940 --> 00:16:46,980 perhaps very passionately. 199 00:16:46,980 --> 00:16:49,460 Certainly on Goya's side. 200 00:17:41,380 --> 00:17:45,260 Goya knew that if he wanted to be successful at court 201 00:17:45,260 --> 00:17:49,860 and as a painter in his own right, portraiture was the key. 202 00:17:49,860 --> 00:17:53,180 Through his contact with the Count of Floridablanca, 203 00:17:53,180 --> 00:17:56,020 Goya apparently received an introduction 204 00:17:56,020 --> 00:17:58,260 to King Charles III's younger brother, 205 00:17:58,260 --> 00:18:02,060 the Infante Don Luis, who was living in semi-exile 206 00:18:02,060 --> 00:18:04,980 about 120 miles west of Madrid. 207 00:18:06,340 --> 00:18:09,420 Goya took his time building a relationship 208 00:18:09,420 --> 00:18:13,780 from these prospective patrons, and indeed was invited to paint 209 00:18:13,780 --> 00:18:16,620 the portraits of the Infante's young family. 210 00:18:18,620 --> 00:18:22,100 This is the Family of the Infante Don Luis. 211 00:18:22,100 --> 00:18:25,300 Don Luis was living in exile at the time, 212 00:18:25,300 --> 00:18:28,300 he had misbehaved at court. 213 00:18:28,300 --> 00:18:30,900 He had a real liking for young ladies, 214 00:18:30,900 --> 00:18:33,100 and was caught literally in the act, 215 00:18:33,100 --> 00:18:35,900 and it caused terrible scandal at court 216 00:18:35,900 --> 00:18:38,740 and his elder brother Charles III was forced to tell him 217 00:18:38,740 --> 00:18:43,220 that one, he had to marry, and two, live outside Madrid. 218 00:18:43,220 --> 00:18:45,940 Goya spent two summers with the family 219 00:18:45,940 --> 00:18:49,220 and he first did individual portraits of husband and wife 220 00:18:49,220 --> 00:18:51,460 and the children, and it all culminated 221 00:18:51,460 --> 00:18:56,100 in this amazing group portrait of the family and their servants. 222 00:18:58,300 --> 00:19:01,660 And Goya has shown himself in the actual picture, 223 00:19:01,660 --> 00:19:05,660 painting a large canvas, he's just drawn out the outlines. 224 00:19:05,660 --> 00:19:08,460 And that canvas of course is the canvas we see today, 225 00:19:08,460 --> 00:19:10,300 so there he is. 226 00:19:11,500 --> 00:19:13,900 The main character is Don Luis, of course, 227 00:19:13,900 --> 00:19:17,860 sitting, playing a game of solitaire almost absent-mindedly 228 00:19:17,860 --> 00:19:20,380 as the action is going on around him. 229 00:19:20,380 --> 00:19:24,060 And at centre stage is Maria Teresa, his young wife, 230 00:19:24,060 --> 00:19:28,540 having her hair done by the court coiffeur, Santos Garcia. 231 00:19:28,540 --> 00:19:30,740 And she's having her hair prepared 232 00:19:30,740 --> 00:19:33,340 so she can have the headdress placed on her head, 233 00:19:33,340 --> 00:19:35,540 which two of the maids are holding. 234 00:19:36,860 --> 00:19:40,140 But the real mystery are these four men on the far right. 235 00:19:40,140 --> 00:19:42,140 Who are they? We don't know. 236 00:19:42,140 --> 00:19:45,260 Payrolls give us an indication of who was being employed 237 00:19:45,260 --> 00:19:47,860 by Don Luis and Maria Teresa. 238 00:19:47,860 --> 00:19:51,220 One of them might be the secretary to Don Luis. 239 00:19:51,220 --> 00:19:54,820 I've got a new theory about this picture and it's about access, 240 00:19:54,820 --> 00:19:59,340 it's about how a painter, because of his skills, his talent, 241 00:19:59,340 --> 00:20:03,340 is able to enter the inner sanctum of a family. 242 00:20:03,340 --> 00:20:08,220 And the same goes for the barber, the peluquero, for the hairdresser. 243 00:20:08,220 --> 00:20:11,460 And of course, the barber today is still the person who knows 244 00:20:11,460 --> 00:20:16,660 what's going on, and one wonders if he's sort of equating himself 245 00:20:16,660 --> 00:20:20,860 or comparing himself to a court barber as a court painter. 246 00:20:20,860 --> 00:20:22,700 That's just a little theory. 247 00:20:22,700 --> 00:20:26,460 Very sadly, Don Luis dies a year after this picture 248 00:20:26,460 --> 00:20:29,780 and with him dies his first royal patron. 249 00:20:32,180 --> 00:20:34,860 Goya was very ambitious, and in some of the earlier portraits, 250 00:20:34,860 --> 00:20:36,620 he often inserts himself in. 251 00:20:36,620 --> 00:20:38,940 That follows the tradition of earlier painters. 252 00:20:38,940 --> 00:20:43,220 His first major commission for the Infante Don Luis, 253 00:20:43,220 --> 00:20:45,140 he inserts himself at an easel in the corner. 254 00:20:45,140 --> 00:20:47,580 Of course, he is referring back to Velazquez's Las Meninas. 255 00:20:47,580 --> 00:20:49,580 He's making connections. 256 00:20:49,580 --> 00:20:53,220 I think in his later works, when he was more established as an artist, 257 00:20:53,220 --> 00:20:55,660 he was certainly more confident and would do more. 258 00:20:55,660 --> 00:20:57,660 There would be less trying to ingratiate yourself 259 00:20:57,660 --> 00:20:58,940 with your audience, I think. 260 00:20:58,940 --> 00:21:02,660 There's more confidence in being able to do what he wanted to do. 261 00:21:02,660 --> 00:21:05,900 There was always this adherence to nature, to truth, 262 00:21:05,900 --> 00:21:09,020 and that really stayed with him throughout his life. 263 00:21:10,580 --> 00:21:14,260 GOYA: I have now established an enviable way of living. 264 00:21:14,260 --> 00:21:17,900 I do not wait on anyone in antechambers, 265 00:21:17,900 --> 00:21:21,940 and if anyone wants anything from me they must come to me. 266 00:21:21,940 --> 00:21:25,220 I have made myself more in demand 267 00:21:25,220 --> 00:21:29,020 and unless it is some person of rank or a friend, 268 00:21:29,020 --> 00:21:31,460 I do not work for anyone. 269 00:21:31,460 --> 00:21:36,060 And to the extent that I have made myself so in demand, 270 00:21:36,060 --> 00:21:38,460 they don't stop coming to me. 271 00:21:38,460 --> 00:21:40,660 And they still don't. 272 00:21:40,660 --> 00:21:43,500 I don't know how I shall be able to cope, 273 00:21:43,500 --> 00:21:47,660 for it is so unexpected that you can hardly imagine it. 274 00:21:57,940 --> 00:22:01,340 Goya's popularity as a portrait painter grew rapidly 275 00:22:01,340 --> 00:22:04,340 during the mid 1780s. 276 00:22:04,340 --> 00:22:06,860 He was commissioned to paint the founding directors 277 00:22:06,860 --> 00:22:11,380 of the National Bank of San Carlos, now the Bank of Spain. 278 00:22:11,380 --> 00:22:16,620 This was a new institution supported by enlightened thinkers in Spain 279 00:22:16,620 --> 00:22:18,780 including Goya himself. 280 00:22:21,380 --> 00:22:24,580 The Count of Altamira was one of the directors 281 00:22:24,580 --> 00:22:27,700 and the success of this beautifully-rendered portrait 282 00:22:27,700 --> 00:22:31,900 led to further commissions for Goya to paint his wife and children. 283 00:22:38,260 --> 00:22:41,020 Goya's portraits of these influential people 284 00:22:41,020 --> 00:22:45,460 demonstrated his free brushwork and naturalistic observation 285 00:22:45,460 --> 00:22:48,500 and clearly shows the influence of Velazquez. 286 00:22:51,380 --> 00:22:54,540 With revolution sweeping across neighbouring France, 287 00:22:54,540 --> 00:22:58,340 King Charles III focused on home-grown talent 288 00:22:58,340 --> 00:23:01,540 and offered Goya a permanent, salaried position 289 00:23:01,540 --> 00:23:03,740 within the court itself. 290 00:23:03,740 --> 00:23:09,580 In 1785, his fortune further increased and he was appointed 291 00:23:09,580 --> 00:23:14,260 Deputy Director of the Royal Academy of Fine Art of San Fernando. 292 00:23:16,820 --> 00:23:18,780 Goya's list of influential patrons expanded. 293 00:23:20,180 --> 00:23:24,980 His modern approach to portraiture appealed to a Spanish nobility 294 00:23:24,980 --> 00:23:29,460 wishing to associate itself with the developing European enlightenment. 295 00:23:37,780 --> 00:23:42,620 He was asked by these very wonderful patrons - 296 00:23:42,620 --> 00:23:47,540 the Duke of Osuna, who had just received his Dukedom, 297 00:23:47,540 --> 00:23:48,740 his wife, 298 00:23:48,740 --> 00:23:53,060 the extraordinarily enlightened, advanced, intellectual lady 299 00:23:53,060 --> 00:23:55,540 the Condesa Duquesa de Benavente, 300 00:23:55,540 --> 00:24:01,460 and the children that had survived miscarriages and early deaths - 301 00:24:01,460 --> 00:24:05,220 which was of course a given in those days - 302 00:24:05,220 --> 00:24:09,700 and he was asked to produce a family portrait. 303 00:24:10,940 --> 00:24:15,420 This was to be a life-size, enormously complex, 304 00:24:15,420 --> 00:24:20,140 but very in a way simple because this was an enlightened family. 305 00:24:21,780 --> 00:24:26,020 The mother puts her arm around the little ones' shoulders 306 00:24:26,020 --> 00:24:28,820 and they have these lovely fluffy dogs, 307 00:24:28,820 --> 00:24:31,100 which appear in all of Goya's portraits 308 00:24:31,100 --> 00:24:36,140 of the aristocracy at this time. Pet dogs were much in favour. 309 00:24:36,140 --> 00:24:39,820 And if you look at the details of the Countess, 310 00:24:39,820 --> 00:24:43,180 the Duchess's dress, it is absolutely exquisite. 311 00:24:43,180 --> 00:24:46,940 I mean, it looks like a very simple construct of white muslin, 312 00:24:46,940 --> 00:24:50,460 but if you look at the way the edges are cut and bordered, 313 00:24:50,460 --> 00:24:54,660 it's a miracle of dress making and must have cost a fortune. 314 00:24:55,660 --> 00:25:00,660 This portrait somehow floats the notion of aristocracy 315 00:25:00,660 --> 00:25:03,580 as way up there in the clouds. 316 00:25:03,580 --> 00:25:08,780 Wasp waists, exquisite dress, perfect outlines, 317 00:25:08,780 --> 00:25:11,140 not a hair out of place. 318 00:25:11,140 --> 00:25:17,660 And she's wearing this remarkable stomacher with enamelled buttons. 319 00:25:17,660 --> 00:25:22,180 Every detail of the costume is exquisitely painted 320 00:25:22,180 --> 00:25:26,500 and the brushwork on this picture is astonishing 321 00:25:26,500 --> 00:25:28,940 when you hone in on the details. 322 00:25:28,940 --> 00:25:33,020 It's also unlined, it's in almost perfect condition, 323 00:25:33,020 --> 00:25:35,700 so it's one of the very rare opportunities 324 00:25:35,700 --> 00:25:39,420 to see a work by Goya almost as he painted it. 325 00:25:51,260 --> 00:25:54,540 This painting is a portrait of Therese Louise de Sureda 326 00:25:54,540 --> 00:25:59,940 and I'm in the process of in-painting some of the losses. 327 00:26:01,940 --> 00:26:07,220 He painted very quickly and loosely, it's beautiful to see. 328 00:26:07,220 --> 00:26:10,580 He prepared his canvas with an orange ground 329 00:26:10,580 --> 00:26:14,820 and you can actually see the ground poking through in certain areas. 330 00:26:14,820 --> 00:26:18,740 Sometimes with just glazes over it, such as in the chair. 331 00:26:18,740 --> 00:26:22,980 He painted with a very transparent paint 332 00:26:22,980 --> 00:26:25,860 and allowed the ground to show through and create the wood grain. 333 00:26:27,180 --> 00:26:28,900 So you can see that the shape of her hair 334 00:26:28,900 --> 00:26:30,500 makes an upside down heart, 335 00:26:30,500 --> 00:26:32,820 and we're not sure if she wore her hair that way 336 00:26:32,820 --> 00:26:36,180 or if Goya just did that as a little bit of fun. 337 00:26:36,180 --> 00:26:40,860 She was French and you can see she has a little bit of haughtiness, 338 00:26:40,860 --> 00:26:45,060 a little bit of French-ness about her. It's pretty incredible. 339 00:26:49,660 --> 00:26:52,380 The unrest caused by the French Revolution 340 00:26:52,380 --> 00:26:55,940 and the death of Charles III at the end of 1788 341 00:26:55,940 --> 00:26:58,420 brought forth a period of nervousness 342 00:26:58,420 --> 00:27:00,620 in the Spanish halls of power. 343 00:27:00,620 --> 00:27:04,260 But the new king, Charles IV, who ascended to the throne 344 00:27:04,260 --> 00:27:07,260 accompanied by his wife Maria Luisa, 345 00:27:07,260 --> 00:27:09,940 made clear his commitment to the Bourbon dynasty. 346 00:27:11,580 --> 00:27:16,180 As a court employee, Goya remained faithful to the royal cause, 347 00:27:16,180 --> 00:27:18,860 despite connections to those suspected of plotting 348 00:27:18,860 --> 00:27:20,740 against the monarchy. 349 00:27:20,740 --> 00:27:24,500 Goya was asked to swear an oath of allegiance to the king 350 00:27:24,500 --> 00:27:26,260 and, having done so, 351 00:27:26,260 --> 00:27:30,020 was soon appointed to the position of Court Painter. 352 00:27:30,020 --> 00:27:34,540 As such, he was assigned to execute portraits of the Royal family 353 00:27:34,540 --> 00:27:37,100 that were to hang in grand residencies 354 00:27:37,100 --> 00:27:39,100 such as the Royal Palace. 355 00:30:00,060 --> 00:30:02,820 What's important to understand is that portraiture at the time, 356 00:30:02,820 --> 00:30:05,180 particularly because of the French Revolution next door, 357 00:30:05,180 --> 00:30:07,900 portraits had to be approachable, 358 00:30:07,900 --> 00:30:10,500 they had to be in sync with the people. 359 00:30:10,500 --> 00:30:13,060 And I think that's why particularly the Royal portraits 360 00:30:13,060 --> 00:30:14,820 had to be as they are, 361 00:30:14,820 --> 00:30:18,100 they're meant to be king and queen as human beings, 362 00:30:18,100 --> 00:30:22,140 people you could meet and have sessions. 363 00:30:22,140 --> 00:30:24,460 We know the King received people at his lunch. 364 00:30:24,460 --> 00:30:26,900 And I think we over-interpret these portraits, 365 00:30:26,900 --> 00:30:31,140 we might think that he was mocking them, but not in the least, 366 00:30:31,140 --> 00:30:33,420 he was very respectful of the Spanish monarchy. 367 00:30:33,420 --> 00:30:38,300 He was a royalist, he believed in the Royal Spanish monarchy 368 00:30:38,300 --> 00:30:40,420 and he was their servant. 369 00:30:42,140 --> 00:30:46,220 GOYA: I cannot do more than I am doing at present. 370 00:30:46,220 --> 00:30:50,460 My situation is very different to what I may think, 371 00:30:50,460 --> 00:30:55,660 because I spend a lot, because I chose to and because I like to. 372 00:30:55,660 --> 00:31:00,180 Also, I happen to be a man who is known by everyone 373 00:31:00,180 --> 00:31:04,020 from the King down, and I am not able to compromise 374 00:31:04,020 --> 00:31:07,020 my nature or talent, as some others may. 375 00:31:10,620 --> 00:31:15,140 In 1793, Goya, feeling fatigued and unwell, 376 00:31:15,140 --> 00:31:20,260 decided to travel to Seville and Cadiz to rest and recover. 377 00:31:20,260 --> 00:31:23,260 It is not known what caused Goya's illness 378 00:31:23,260 --> 00:31:25,940 but its severity left him close to death 379 00:31:25,940 --> 00:31:28,700 and rendered him totally deaf. 380 00:31:30,620 --> 00:31:34,700 The deafness was an extraordinary event. 381 00:31:34,700 --> 00:31:37,540 People continue to wonder what happened to him, 382 00:31:37,540 --> 00:31:40,260 and whether it really was lead poisoning, 383 00:31:40,260 --> 00:31:44,460 given the amount of lead white that he was using in his pictures, 384 00:31:44,460 --> 00:31:46,180 like all artists. 385 00:31:46,180 --> 00:31:48,180 They were all despairing of his death, 386 00:31:48,180 --> 00:31:51,460 and they were all exchanging letters about his condition, 387 00:31:51,460 --> 00:31:54,420 which was grave, extremely grave. 388 00:31:54,420 --> 00:31:59,100 He remained stone deaf for the rest of his life, 389 00:31:59,100 --> 00:32:03,460 and this is a man who loved music, who loved conversation, 390 00:32:03,460 --> 00:32:09,100 who was incredibly gregarious and outgoing. 391 00:32:09,100 --> 00:32:15,420 It enabled him, I think, to start painting and drawing for himself, 392 00:32:15,420 --> 00:32:20,340 perhaps for the very first time, completely freely, 393 00:32:20,340 --> 00:32:23,140 which was a turning point in his career. 394 00:32:24,780 --> 00:32:29,860 It also enabled him to, in a way, stand up for himself 395 00:32:29,860 --> 00:32:32,020 as an independent artist. 396 00:32:33,700 --> 00:32:37,780 Rebellion in France started to spill into Spain. 397 00:32:37,780 --> 00:32:42,020 Liberal-minded sympathisers were threatened with repressive laws 398 00:32:42,020 --> 00:32:44,860 policed by the Holy Office of the Inquisition, 399 00:32:44,860 --> 00:32:48,100 and many of Goya's associates come under scrutiny. 400 00:32:49,660 --> 00:32:52,220 Although still employed by the court, 401 00:32:52,220 --> 00:32:56,180 Goya enjoyed the freedom offered by private patronage 402 00:32:56,180 --> 00:32:59,180 and was encouraged by enlightened friends, 403 00:32:59,180 --> 00:33:02,740 such as the intellectual Gaspar Melchor Jovellanos 404 00:33:02,740 --> 00:33:09,500 and the poet Juan Melendez Valdas, to explore his newfound expression. 405 00:33:09,500 --> 00:33:13,820 But one patron above all seemed to have an enormous impact on his work 406 00:33:13,820 --> 00:33:18,460 and became one of his closest supporters - the Duchess of Alba. 407 00:33:20,220 --> 00:33:22,660 GOYA: It would have been worth your while 408 00:33:22,660 --> 00:33:25,100 to have come and helped me paint La Alba, 409 00:33:25,100 --> 00:33:29,620 who barged into my studio yesterday to have her face painted, 410 00:33:29,620 --> 00:33:32,060 and it is now done. 411 00:33:32,060 --> 00:33:35,700 I definitely prefer this to painting on canvas, 412 00:33:35,700 --> 00:33:39,700 and now I also have to do her in full-length. 413 00:33:43,500 --> 00:33:48,020 This is the Duchess of Alba, one of Goya's most iconic portraits. 414 00:33:48,020 --> 00:33:52,060 She was THE leading aristocrat of the time. 415 00:33:52,060 --> 00:33:55,220 She inherited, at the age of 12, the Duchy of Alba, 416 00:33:55,220 --> 00:33:57,820 one of the wealthiest Duchies in Spain. 417 00:33:57,820 --> 00:34:00,060 She inherited a great collection of paintings, 418 00:34:00,060 --> 00:34:04,380 including the Venus by Velazquez but she was also very capricious, 419 00:34:04,380 --> 00:34:06,660 quite difficult, quite cheeky, quite eccentric. 420 00:34:06,660 --> 00:34:08,620 She, at the same time, was extremely beautiful, 421 00:34:09,900 --> 00:34:12,300 and a French visitor, when he came to Spain and met her, 422 00:34:12,300 --> 00:34:17,340 said, "every single hair on her head awakens desire." 423 00:34:17,340 --> 00:34:19,380 Goya saw her as a muse 424 00:34:19,380 --> 00:34:22,260 and I think she allowed him to come into the palace, 425 00:34:22,260 --> 00:34:24,020 look at her pictures, 426 00:34:24,020 --> 00:34:26,660 but also possibly even set up a studio. 427 00:34:26,660 --> 00:34:29,380 And he spent quite a lot of time with her down in the south of Spain, 428 00:34:29,380 --> 00:34:31,380 in a place called Sanlucar de Barrameda, 429 00:34:31,380 --> 00:34:33,180 which is very likely where she is standing. 430 00:34:33,180 --> 00:34:37,100 You can see the great river Guadalquivir coming out. 431 00:34:37,100 --> 00:34:39,060 This is the great estuary in Southern Spain, 432 00:34:40,380 --> 00:34:43,100 and one of her great sort of lands and dominions. 433 00:34:43,100 --> 00:34:45,420 But this picture is the result, I think, 434 00:34:45,420 --> 00:34:48,220 of a relationship that, of course, has created a lot of discussion, 435 00:34:50,060 --> 00:34:52,020 mainly because of the inscription below 436 00:34:53,900 --> 00:34:55,740 that she apparently has inscribed herself, 437 00:34:55,740 --> 00:34:57,220 either with her foot or her finger. 438 00:34:57,220 --> 00:35:00,860 She's pointing at it and it says: 'Solo Goya.' Only Goya. 439 00:35:00,860 --> 00:35:04,660 And then she has two rings, one says 'Alba' and the other one 'Goya'. 440 00:35:04,660 --> 00:35:07,140 And, of course, particularly in the 19th century, 441 00:35:07,140 --> 00:35:08,980 the myth began that they were lovers, 442 00:35:08,980 --> 00:35:12,380 that they had this very furious and tempestuous relationship. 443 00:35:12,380 --> 00:35:14,420 What is really intriguing is the fact 444 00:35:14,420 --> 00:35:17,620 that Goya may not have ever delivered this portrait. 445 00:35:17,620 --> 00:35:22,380 It's first recorded in his own house, in his inventory, in 1812, 446 00:35:22,380 --> 00:35:25,500 and one wonders, did he paint it for himself, 447 00:35:25,500 --> 00:35:27,780 for his own satisfaction, 448 00:35:27,780 --> 00:35:32,260 or perhaps to have her living with him in his own home? 449 00:35:32,260 --> 00:35:34,180 So Goya, I think, 450 00:35:34,180 --> 00:35:36,500 found in her a perfect subject 451 00:35:36,500 --> 00:35:43,970 for a lot of his art, which was based on invention and originality. 452 00:35:46,090 --> 00:35:49,730 WOMAN NARRATOR: In 1793, Spain declared war on France, 453 00:35:49,730 --> 00:35:51,370 but was defeated 454 00:35:51,370 --> 00:35:55,370 and was forced to make an alliance with the new Republic. 455 00:35:57,450 --> 00:36:02,010 Spain, ruptured by the hypocrisy and corruption 456 00:36:02,010 --> 00:36:04,930 of both church and state, had to change. 457 00:36:04,930 --> 00:36:07,490 A period of liberalisation ensued, 458 00:36:07,490 --> 00:36:10,090 during which time Goya was appointed 459 00:36:10,090 --> 00:36:12,810 Director of the Royal Academy of Fine Art 460 00:36:12,810 --> 00:36:15,090 and promoted under Charles IV 461 00:36:15,090 --> 00:36:18,490 from Court Painter to First Court Painter - 462 00:36:18,490 --> 00:36:22,410 the highest position an artist could achieve. 463 00:36:24,010 --> 00:36:27,610 The patronage of Charles IV and his wife, Maria Luisa, 464 00:36:27,610 --> 00:36:29,570 led to a series of important commissions for Goya, 465 00:36:31,290 --> 00:36:33,690 that included the painting of frescoes 466 00:36:33,690 --> 00:36:36,450 for the Hermitage of San Antonia de la Florida 467 00:36:36,450 --> 00:36:38,050 on the outskirts of Madrid. 468 00:36:40,050 --> 00:36:43,290 These were energetic and dynamic renderings 469 00:36:43,290 --> 00:36:46,250 of people gathered to listen to Saint Anthony of Padua. 470 00:36:47,730 --> 00:36:51,210 In 1799, he was commissioned to paint a group portrait 471 00:36:51,210 --> 00:36:53,410 of the family of Charles IV. 472 00:36:53,410 --> 00:36:58,490 It became one of Goya's most celebrated and enigmatic works, 473 00:36:58,490 --> 00:37:01,690 and a prized possession of Madrid's Prado Museum. 474 00:37:05,250 --> 00:37:07,810 MAN: The Prado has this responsibility 475 00:37:07,810 --> 00:37:11,250 of looking after Goya's work from beginning to end, 476 00:37:11,250 --> 00:37:15,610 so it is the place to go to if you want to understand Goya. 477 00:37:15,610 --> 00:37:19,490 With the portraits I had to be very careful not to over-ask. 478 00:37:19,490 --> 00:37:23,050 Also aware that some pictures just do not leave the Prado, 479 00:37:23,050 --> 00:37:26,490 such as the large painting of the family of Charles IV, 480 00:37:26,490 --> 00:37:28,730 which is like Las Meninas by Velazquez. 481 00:37:28,730 --> 00:37:30,570 It's one of those sacred paintings 482 00:37:30,570 --> 00:37:34,250 that you have to go to the Prado to see. It just won't move. 483 00:37:34,250 --> 00:37:39,930 WOMAN: It was a royal commission in 1800, that was related to France, 484 00:37:39,930 --> 00:37:42,370 because there was a new ambassador of France, 485 00:37:42,370 --> 00:37:44,850 new relations with Napoleon, 486 00:37:44,850 --> 00:37:50,010 who actually wanted to marry the young one there. 487 00:37:50,010 --> 00:37:55,650 And, in our opinion, this painting was a very political painting 488 00:37:55,650 --> 00:37:58,250 to be established in the Royal Palace 489 00:37:58,250 --> 00:38:01,050 in order to be seen by the ambassadors, 490 00:38:01,050 --> 00:38:06,290 by everybody who came to visit the King. 491 00:38:06,290 --> 00:38:12,770 The establishment of the Bourbons as a legal monarchy of Spain, 492 00:38:12,770 --> 00:38:15,890 which is established not only by Hercules, 493 00:38:15,890 --> 00:38:19,610 but also by the similarity of this painting 494 00:38:19,610 --> 00:38:21,610 with Las Meninas of Velazquez, 495 00:38:22,850 --> 00:38:26,930 which is also a political painting that establishes the crown 496 00:38:26,930 --> 00:38:30,330 and the power of the King through the little infanta. 497 00:38:30,330 --> 00:38:32,890 So here is almost the same idea 498 00:38:32,890 --> 00:38:34,930 with the Velazquez painting 499 00:38:34,930 --> 00:38:36,930 and the Goya painting. 500 00:38:36,930 --> 00:38:41,170 So, visually, in the court, that was the same thing. 501 00:38:41,170 --> 00:38:45,130 I've written once that he's probably 502 00:38:45,130 --> 00:38:47,090 one of the very few portrait painters... 503 00:38:48,330 --> 00:38:52,010 ..that when he looks at the person in front of him 504 00:38:52,010 --> 00:38:56,970 and has to make a portrait of him, he doesn't see the clothes. 505 00:38:56,970 --> 00:39:00,610 He sees them naked, completely naked. 506 00:39:00,610 --> 00:39:05,530 You see that there is no frontier between the dress, 507 00:39:05,530 --> 00:39:09,210 whatever the dress is, and the person. 508 00:39:09,210 --> 00:39:13,010 And it's very difficult to get that in any other artist. 509 00:39:13,010 --> 00:39:17,890 Even in Rembrandt, you see the person, their face, their hands, 510 00:39:17,890 --> 00:39:20,250 and then their clothes, 511 00:39:20,250 --> 00:39:24,530 but it's difficult to imagine how that person was. Not with Goya. 512 00:39:24,530 --> 00:39:29,410 In every portrait, in every one, you see the naked figure. 513 00:39:36,730 --> 00:39:40,570 WOMAN 2: I suppose that when Goya is asked to paint a portrait, 514 00:39:40,570 --> 00:39:44,810 whether it's of a minister of state, or the King, 515 00:39:44,810 --> 00:39:50,690 or simply a close friend, one of his great advantages, I think, 516 00:39:50,690 --> 00:39:55,250 was that he could see people in the round, he could see and understand 517 00:39:55,250 --> 00:39:57,250 and sympathise with their character. 518 00:39:57,250 --> 00:40:00,690 But he really had an extraordinary grasp, 519 00:40:00,690 --> 00:40:03,090 a psychological grasp of personality. 520 00:40:03,090 --> 00:40:07,250 And he was also incredibly attentive to body language. 521 00:40:16,130 --> 00:40:18,770 WOMAN NARRATOR: The beginning of the 19th century 522 00:40:18,770 --> 00:40:22,170 brought further disruption to Spain, and the ageing Goya. 523 00:40:22,170 --> 00:40:27,770 Napoleon Bonaparte, ruler of France, declared war on Great Britain. 524 00:40:29,250 --> 00:40:32,210 He decided to invade Spain in 1808 525 00:40:32,210 --> 00:40:36,410 in an effort to control European relationships with the British. 526 00:40:36,410 --> 00:40:39,170 This caused major civil unrest, 527 00:40:39,170 --> 00:40:41,890 and, indeed, the abdication of Charles IV 528 00:40:41,890 --> 00:40:45,890 in favour of his son, Ferdinand VII. 529 00:40:49,130 --> 00:40:51,490 Napoleon's troops entered Madrid 530 00:40:51,490 --> 00:40:53,450 and supressed an uprising with cruel efficiency, 531 00:40:55,290 --> 00:41:00,410 which was later immortalised in two major paintings by Goya, 532 00:41:00,410 --> 00:41:06,050 commissioned at the end of the French occupation in 1814. 533 00:41:06,050 --> 00:41:08,130 With Spain now under French rule, 534 00:41:08,130 --> 00:41:11,050 and with Napoleon's brother, Joseph, declared King, 535 00:41:11,050 --> 00:41:14,250 Spain suffered through a bloody 'guerrilla' war 536 00:41:14,250 --> 00:41:17,410 against its new masters, that lasted for six years. 537 00:41:19,130 --> 00:41:23,890 During this period, Goya recorded scenes of cruelty and oppression 538 00:41:23,890 --> 00:41:27,170 in another major set of etchings and aquatints 539 00:41:27,170 --> 00:41:30,130 called 'The Disasters of War'. 540 00:41:30,130 --> 00:41:34,130 Madrid was finally liberated by British troops, 541 00:41:34,130 --> 00:41:35,970 led by the Duke of Wellington. 542 00:41:35,970 --> 00:41:41,170 Ferdinand VII thus was restored to the Spanish throne 543 00:41:41,170 --> 00:41:45,610 and Goya continued with his duties as First Court Painter. 544 00:41:47,170 --> 00:41:51,170 WOMAN: Goya's position as the Royal portrait painter 545 00:41:51,170 --> 00:41:53,450 and painter of the aristocracy and so on, 546 00:41:53,450 --> 00:41:55,770 gave him access to people who were in power, 547 00:41:55,770 --> 00:41:58,650 the wealthy aristocratic classes, 548 00:41:58,650 --> 00:42:00,970 but in a way, it also made him vulnerable, 549 00:42:00,970 --> 00:42:03,170 particularly in this period of political change, 550 00:42:03,170 --> 00:42:05,050 because one minute he was painter to the king 551 00:42:05,050 --> 00:42:07,210 and then, after the Napoleonic invasion, 552 00:42:07,210 --> 00:42:09,130 he was painter to Joseph Bonaparte. 553 00:42:09,130 --> 00:42:12,490 Then when the Bourbon king returned, Ferdinand VII, 554 00:42:12,490 --> 00:42:14,810 he was still painter to the King. 555 00:42:14,810 --> 00:42:17,010 And in a way, he was in a unique position, 556 00:42:17,010 --> 00:42:20,170 because it gave him access to the powers that be, 557 00:42:20,170 --> 00:42:22,850 whether under French or Spanish rule, 558 00:42:22,850 --> 00:42:24,410 but it also made him very vulnerable, 559 00:42:24,410 --> 00:42:26,250 because he could have been seen to associate 560 00:42:26,250 --> 00:42:28,210 with one camp as opposed to another. 561 00:42:28,210 --> 00:42:32,010 In fact, I find his portraits not particularly political. 562 00:42:32,010 --> 00:42:33,730 I mean, he had to adapt to change, 563 00:42:33,730 --> 00:42:36,450 he also had to survive as a painter. It was his role. 564 00:42:36,450 --> 00:42:39,970 He doesn't seem to take a political stance in his portraits, 565 00:42:39,970 --> 00:42:42,610 and if he does so, he does so very subtly. 566 00:42:42,610 --> 00:42:46,290 I wouldn't describe Goya as a realistic painter. 567 00:42:46,290 --> 00:42:49,530 I would describe him much more as a truthful painter 568 00:42:49,530 --> 00:42:52,410 or a naturalistic painter, because he paints nature, 569 00:42:52,410 --> 00:42:54,290 he paints what is in front of him, 570 00:42:54,290 --> 00:42:56,490 but he captures the essence of what's in front of him. 571 00:42:56,490 --> 00:42:58,930 He doesn't paint a frown line where you see a frown line. 572 00:42:58,930 --> 00:43:00,610 He captures the mood and, 573 00:43:00,610 --> 00:43:03,490 everyone says, a psychological intensity of his sitters, 574 00:43:03,490 --> 00:43:05,490 but they are a sort of window into these sitters. 575 00:43:05,490 --> 00:43:08,410 If we take the portrait of the Duke of Wellington, for example, 576 00:43:08,410 --> 00:43:11,850 we know Wellington sat to Goya in August 1812 577 00:43:11,850 --> 00:43:14,330 when Wellington entered Madrid victorious. 578 00:43:14,330 --> 00:43:16,930 And it's thought that the National Gallery portrait 579 00:43:16,930 --> 00:43:20,410 may have been done as a live sitting in front of the Duke. 580 00:43:20,410 --> 00:43:22,250 And whether it was done then and there, 581 00:43:22,250 --> 00:43:24,250 or it was done later from a drawing, 582 00:43:24,250 --> 00:43:27,210 it does have a sort of immediacy 583 00:43:27,210 --> 00:43:29,170 that certainly would make one think 584 00:43:29,170 --> 00:43:32,050 that it was done in front of the live model. 585 00:43:32,050 --> 00:43:34,090 You know, as a kind of military hero. 586 00:43:34,090 --> 00:43:36,010 But Goya doesn't paint a military hero. 587 00:43:36,010 --> 00:43:37,610 I mean, he's a hero with all his medals, 588 00:43:37,610 --> 00:43:40,530 but it's all about the face, and he looks very gaunt, 589 00:43:40,530 --> 00:43:44,610 he looks like he's just walked off the battlefield, which he had, 590 00:43:44,610 --> 00:43:47,810 and what Goya captures is, really, the human side of Wellington, 591 00:43:47,810 --> 00:43:50,610 and that's something you don't see in any other portraits of him. 592 00:43:50,610 --> 00:43:52,010 And in a way, it's because 593 00:43:52,010 --> 00:43:53,890 there's a greater piece of Goya in this picture 594 00:43:53,890 --> 00:43:56,330 in a way, than Wellington. 595 00:43:56,330 --> 00:43:59,650 I think Goya really puts himself into his portraits. 596 00:44:01,210 --> 00:44:04,890 WOMAN NARRATOR: As Goya grew older and official commissions decreased, 597 00:44:04,890 --> 00:44:09,610 he turned to his family and friends as subjects for his portrait work. 598 00:44:09,610 --> 00:44:14,290 Goya's wife, Josefa Bayeu, had suffered many miscarriages 599 00:44:14,290 --> 00:44:16,930 and given birth to six children 600 00:44:16,930 --> 00:44:21,770 of which only their son, Javier, survived to adulthood. 601 00:44:21,770 --> 00:44:26,010 With the restoration of Ferdinand VII to the throne, 602 00:44:26,010 --> 00:44:29,090 Spain went through another period of reprisals, 603 00:44:29,090 --> 00:44:31,130 in which suspected French sympathisers 604 00:44:31,130 --> 00:44:34,570 were investigated by the Holy office. 605 00:44:34,570 --> 00:44:39,290 Goya, too, was questioned about the decency of his Naked Maja painting, 606 00:44:39,290 --> 00:44:43,490 privately commissioned by the former Prime Minister Manuel Godoy, 607 00:44:43,490 --> 00:44:45,210 now in exile. 608 00:44:45,210 --> 00:44:50,130 Goya was cleared of the charges and continued with his court duties, 609 00:44:50,130 --> 00:44:52,730 but things had changed. 610 00:44:52,730 --> 00:44:57,090 He decided to buy a house outside of Madrid as a retreat. 611 00:44:57,090 --> 00:44:59,450 The house had a name - 612 00:44:59,450 --> 00:45:04,130 Quinta del Sordo 'House of the Deaf Man'. 613 00:45:05,250 --> 00:45:08,290 MAN: And then he fell terribly ill toward the end of 1819, 614 00:45:08,290 --> 00:45:12,050 and that's when he paints afterwards that wonderful portrait of himself 615 00:45:12,050 --> 00:45:14,650 being held up by his doctor, Arrieta, 616 00:45:14,650 --> 00:45:17,090 a sort of ex-voto, an offering to his doctor, 617 00:45:17,090 --> 00:45:19,370 basically thanking him for saving him. 618 00:45:19,370 --> 00:45:22,410 And 1820 to 1823 is that critical moment 619 00:45:22,410 --> 00:45:25,410 when he does what appears to be his 'black' paintings, 620 00:45:25,410 --> 00:45:28,570 his so-called black paintings for that house. 621 00:45:28,570 --> 00:45:30,650 Goya's near-death experience in 1819, I'm sure, 622 00:45:30,650 --> 00:45:35,330 had a tremendous effect on him personally. 623 00:45:36,650 --> 00:45:39,730 And that Quinta del Sordo, that house, 624 00:45:39,730 --> 00:45:42,010 is likely to have been an open canvas for him 625 00:45:42,010 --> 00:45:45,370 to literally put down all the visions, 626 00:45:45,370 --> 00:45:49,450 the sort of reflections of contemporary Spain, 627 00:45:49,450 --> 00:45:52,970 of people, and how they behaved and witches Sabbaths. 628 00:45:52,970 --> 00:45:54,930 Maybe it's his way of exorcising himself, 629 00:45:54,930 --> 00:45:57,810 getting it out, expressing it. 630 00:45:57,810 --> 00:46:00,650 And you could see it as a personal statement. 631 00:46:00,650 --> 00:46:04,530 Unfortunately we have no idea why he painted them, who were they for, 632 00:46:04,530 --> 00:46:07,370 whether he meant that they were to be seen or not. 633 00:46:07,370 --> 00:46:11,690 All we know is he transfers all the legal rights to that house 634 00:46:11,690 --> 00:46:13,130 to his grandson, 635 00:46:13,130 --> 00:46:15,370 and that he leaves for Bordeaux in 1824 636 00:46:15,370 --> 00:46:17,010 with a completely new lease of life. 637 00:46:17,010 --> 00:46:21,210 He describes himself as the old Titian, full of creativity, 638 00:46:21,210 --> 00:46:22,890 and indeed, the last four years, 639 00:46:22,890 --> 00:46:24,930 he produces some of his greatest portraits, 640 00:46:24,930 --> 00:46:27,650 some of his most fantastic lithographs, 641 00:46:27,650 --> 00:46:29,250 a great series of drawings. 642 00:46:29,250 --> 00:46:32,010 He's full of invention right until the end. 643 00:46:32,010 --> 00:46:35,490 WOMAN NARRATOR: Goya resigned his post as first court painter 644 00:46:35,490 --> 00:46:38,930 and decided to spend the last years of his life 645 00:46:38,930 --> 00:46:42,250 in self-imposed exile in France, 646 00:46:42,250 --> 00:46:47,690 supported by his companion, Leocadia Weiss, and her daughter, Rosario. 647 00:46:50,570 --> 00:46:54,450 On the 16th of April, 1828, in Bordeaux, 648 00:46:54,450 --> 00:46:58,610 Goya suffered a paralysing stroke and died. 649 00:47:05,050 --> 00:47:06,930 MAN: Goya is, of course, well known 650 00:47:06,930 --> 00:47:10,770 for those very dramatic scenes of The Disasters of War 651 00:47:10,770 --> 00:47:15,090 or the acerbic wit of the Caprichos and so on, 652 00:47:15,090 --> 00:47:18,450 so an artist who stands apart from his society. 653 00:47:18,450 --> 00:47:20,250 And he certainly is that. 654 00:47:20,250 --> 00:47:21,810 But he's also much more. 655 00:47:21,810 --> 00:47:24,490 I mean, in that sense, Goya really is a very large character, 656 00:47:24,490 --> 00:47:26,770 he's larger than life, he's interested in everything, 657 00:47:26,770 --> 00:47:31,330 so an artist who is extraordinarily complex, he's a big, big figure. 658 00:47:31,330 --> 00:47:33,610 And his painting is very, very varied, 659 00:47:33,610 --> 00:47:35,970 so you have those big religious pictures, 660 00:47:35,970 --> 00:47:37,930 you have big tapestry cartoons 661 00:47:37,930 --> 00:47:41,130 that he's painting for the royal palaces in Madrid, 662 00:47:41,130 --> 00:47:44,690 he's also painted these tiny miniature portraits of people 663 00:47:44,690 --> 00:47:47,090 in his close circle. 664 00:47:47,090 --> 00:47:53,090 He's painting these astonishing dark, moody, frightening visions, 665 00:47:53,090 --> 00:47:56,050 nightmarish visions, for his own house, 666 00:47:56,050 --> 00:47:59,170 so he's really a very big artist, extraordinarily complex. 667 00:47:59,170 --> 00:48:02,490 He's a sort of universe in himself. 668 00:48:08,210 --> 00:48:12,050 MAN'S VOICE: "It is very difficult to imitate nature, 669 00:48:12,050 --> 00:48:16,930 "and a successful imitation is worthy of admiration. 670 00:48:16,930 --> 00:48:22,610 "He who departs entirely from nature will surely merit high esteem, 671 00:48:22,610 --> 00:48:28,370 "since he has to put before the eyes of the public forms and poses 672 00:48:28,370 --> 00:48:33,210 "which have only existed previously in the darkness and confusion 673 00:48:33,210 --> 00:48:35,650 "of an irrational mind, 674 00:48:35,650 --> 00:48:38,410 "or one which is beset 675 00:48:38,410 --> 00:48:41,290 "by uncontrolled passion." 676 00:49:01,250 --> 00:49:03,250 Subtitles by TVT