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Style suggests that it was during the later 1790s that Francisco Goya painted a nude that has become known as the Naked Maja, or Maja desnuda, a paining first documented in the collection of Manuel Godoy in November 1800. I would here like to consider this painting: (fig. 1) in relation to a more general interest in things sexual hat manifests itself in a variety of ways in late-eighteenth-century Spain. These trends blossomed in opposition to attempts made by both the monarchy and the church to express certain themes-efforts that, not surprisingly, had the opposite effect of making these themes more appealing. The structure of my argument has been anticipated by Richard Terdiman's book. Discourse/Counter Discourse, in which he author examines works of nineteenth-century French Literature and art created to attack the hegemonic discourse of an increasingly bourgeois society, showing the extent to which such \"counter-discourses\" in fact participate in the lominant discourse. 2 I shall examine Goya's Maja desnuda and her clothed counterpart, the Maja restida (fig. 2). as an attempt to counter a dominant discourse that, in late-eighteenth-century Spain, protected itself through censorship. Coinciding with Terdiman. I will also illustrate the extent to which Goya's imagery was in fact influenced by the official censorial stance toward the female nude.

Roldan probes into the influence of Spanish paintings on French artists. Several photographs of both Spanish and French artists such as Edouard Manet, Francisco de Goya y Lucientes, Diego Rodriguez de Silva y Velazquez, and Francisco de Zurbaran are presented to illustrate the realism of Spanish art transformed into a new manner of painting by the 19th century artists.

Goya's Portraits, an exhibition of the works of Francisco de Goya at San Diego Museum of Art in San Diego CA, is reviewed.

\"For two centuries, the powerful, beautiful and mysterious paintings and prints of Francisco Goya have delighted admirers and confounded detractors. The 19th-century French poet Charles Baudelaire, who was most familiar with Goya's darker works, depicted them...as 'nightmare, full of things unknown, of...witches' sabbaths, of old women looking into mirrors and naked girls stretching their stockings tight to tempt demons.' More recently, 20th-century French novelist Andre Malraux proclaimed that 'modern art begins' with the great Spanish artist. One aspect of Goya in particular--his portraits of women and his relations with them--has inflamed imaginations for generations.\" (Smithsonian) This overview of the exhibition \"Goya: Images of Women\" profiles the artist and highlights the \"vastness, variety and complexity\" in the aesthetic narratives and other aspects of his oeuvre. Goya's attitudes toward royalty, war and women and his relations with them, as reflected in his artwork, are considered.

Some art scholars believe that Goya's albums of drawings can be perceived as 'journals' rather than as preparations for paintings or experimental art, with this theory applicable to the exhibition 'Goya: Drawings From His Private Albums' at the Hayward Gallery. An overview of the exhibition is presented.

The art exhibition entitled Goya: Truth and Fantasy - the Small Paintings is being held at the Royal Academy in London, England until June 12, 1994. The exhibition is odd in that it only includes Goya's small formal works of art throughout his life. It is strange to base an exhibition on size alone. However, some of the paintings on show are studies of larger paintings. Some are intended for the artist's private possession, or intended as cabinet pictures.

The recent Spanish portrait exhibition at Madrid's Prado brought together, possibly for the first time, Francisco de Goya's twin portraits of the duchess of Alba. While the duchess in white lives permanently in Spain, the duchess in black had journeyed from--of all places--155th Street and Broadway in Manhattan. The duchess is part of an outstanding collection of Spanish old masters in the museum of the Hispanic Society of America.

Goya's somber, realistic, yet Rococo viewpoint is on display in more than 350 works through December 1995. Included are his masterpiece portraits of the Countess of Altimira and of her son, some satiric etchings, and a set of etchings called 'Disasters of War.'

THE LIBRARY OF CONGRESS exhibition, \"Art in Action: Herblock and Fellow Artists Respond to Their Times,\" pairs original drawings by editorial cartoonist Herblock with historical and contemporary artists' prints, drawings, and posters that respond to major issues from the 17th century to die present day. Key topics that drew his attention provide the organizing framework for the exhibition, including civil rights; gender and women's rights; health; en- vironment; the impact of war; refugees; education; and the role of media. The exhibition features 39 items, including 12 drawings by Herblock and works by 25 other artists: * Tony Audi's depiction of Herblock taking on presidents of all stripes. * Alexander Calder's Cold War-era artwork supporting the National Committee for a Sane Nuclear Policy in 1975. * David Seymour's 1937 photograph of Picasso with a glimpse of the painting \"Guernica,\" showing the terror of war in a famous example of protest art-and Herblock's 1973 tribute to Picasso's impact. * Marshall's somber tribute to civil rights champions Martin Luther King, Jr., and Pres. John F. Kennedy in 1997. * Herblock's \"Reminder, 1942,\" declaring his deep appreciation for those serving in the U.S. armed forces during World War ?. * California artist Fuentes' insight into the role of artist as social commentator in 2013. * Ruth Lynne McIntosh's portrait created as part of the Combat Paper Project for veterans to produce art with paper made of old uniforms. * Lebanese-American artist Zughaib's memori alization of Syrian refugees.