Janis Tomlinson

  • Francisco Goya y Lucientes, Milagro de San Antonio de Padua (Miracle of Saint Anthony of Padua), 1797, oil on canvas, 10 1⁄4 × 14 1⁄2".

    COMPLEXITY AND CONTRADICTION

    THE FIRST WORK firmly attributed to Francisco Goya y Lucientes (1746–1828) is a reliquary cabinet, today lost, painted in Zaragoza, Spain, in the late-Baroque style of his teacher José Luzán Martínez. During his final years in Bordeaux, he drew in crayon, developed an innovative technique for miniatures, and exploited the potential of lithography. Between this alpha and that omega lies Goya, who defies categorization by period (his work is hardly Neoclassical, but it’s not Romantic either) or by genre; any attempt to neatly package his work inevitably leads to contradictions. Encompassing more