the so-called Haarlem Academy to foster figure drawing
in Holland. During the mid-1580 5 Goltzius was greatly
influenced by Bartholomeus Spranger, whose style he
disseminated through engravings after Spranger's draw-
ings, such as the Marriage of Amor and Psyche of 1587.
During 1590/91 Goltzius traveled to Venice, Bologna,
Florence, Naples, and Rome, studying antique sculpture
and the works of Raphael, Titian, and other Renaissance
masters. After his return to Haarlem he gave up Man-
nerism in favor of a more classical style. He was produc-
tive as a draughtsman and printmaker during the 15905,
but after 1600 he virtually gave up engraving for history
painting. Goltzius' fame rests on his work as a print-
maker and draughtsman. Of importance for the later de-
velopment of Dutch art were his figure studies and his
drawings of the dunes around Haarlem of circa 1600,
which are among the earliest depictions of the landscape
of Holland.
FRANCISCO JOSE DE GOYA Y
LUCIENTES
Fuendetodor 1746-Bordeaux 1828
Goya was a pupil of Jose Luzas in Saragossa, and of Fran-
cisco Bayeu in Madrid from 1766. Between 1770 and
1771 he journeyed through Italy. Decorative works such
as the frescoes for the basilica of El Pilar in Saragossa
(1772) and the cartoons, now in the Prado, for the royal
tapestry factory (1776-1791) exhibit the influence of Tie-
polo. In portraiture Goya combined the ceremonial qual-
ities of Anton Rafael Mengs, then court painter to King
Charles III, with acute psychological observation, as can
be seen in the Duchess de Alba (1797; New York, Hispanic
Society of America). Goya was appointed painter to
King Charles III in 1786 and court painter to Charles IV
in 1789. A serious illness in 1792 left the artist completely
deaf. Thereafter his art assumed an increasingly pessi-
mistic, sardonic character. The nightmarish imagery of
his etched series Los Caprichos (1793 -1798) presents a bit-
ter attack upon contemporary customs and manners.
The cycle of political turmoil and violent repression that
beset Spain during the Napoleonic Wars inspired a later
series of etchings, The Disasters of War (produced 1810-
1823, published 1863) as well as his painting The Execu-
tions of the Third of May (1814; Madrid, Prado). Disaf-
fected by the corrupt brutality of King Ferdinand VII,
Goya left Spain permanently in 1824, remaining in exile
in France for the rest of his life save for a trip to Madrid
in 1826.
JAN VAN GOYEN
Leiden 1596-The Hague 1656
From 1606 on, van Goyen studied in Leiden with Coen-
raet van Schilperoort, Isaack van Swanenburch, Jan de
Man, and Hendrik Clock, and in Hoorn with Willem
Gerritsz. He probably traveled in France in 1615/16.
Around 1617 he studied in Haarlem with Esaias van de
Velde, who shaped his early style, as can be seen in his
first known signed and dated work, Landscape with an Old
Tree (1620; New York, private collection). In 1618 he re-
turned to Leiden and in 1632 moved permanently to the
Hague, where he became a citizen in 1634 and the head
of the guild of Saint Luke in 1638 and 1640. During the
late 16205, van Goyen shifted to simplified, diagonal
compositions and a monochromatic palette, thereby
helping to initiate the tonal phase of'Dutch landscape
painting. Later works such as View of Leiden (1643; Mu-
nich, Alte Pinakothek) show an increasingly bold tech-
nique and emphasis upon the rendering of light, atmo-
sphere, and water. Van Goyen drew prolifically from
nature, as in the black chalk drawings of hi$ later career
which reflect his travels in Holland, Belgium, and eastern
Germany.EL GRECO (DomenicoTheotocopuli)
Candia I54i-Toledo 1614
El Greco received initial training in his native Crete.
About 1567-1570 he lived in Venice, where he was influ-
enced by Titian, Tintoretto, Veronese, and Jacopo Bas-
sano. After moving to Rome in 1570 his style underwent
further transformation through contact with the art of
Michelangelo and his Roman followers such as Salviati
and VasarL Jhe prospegt of royal patronage lured him to
Spain in 1576/77. He settled temporarily in Toledo in
1577 and made the city his permanent residence in 1583
following King Philip II's refusal to offer him patronage.
El Greco subsequently gained many patrons among To-
ledo's noble intelligentsia and also executed ecclesiastical
commissions throughout Spain, including The Disrobing
of Christ (1577-1579; Toledo, Cathedral) and The Burial
of Count Orgaz (1586-1588; Toledo, Santo Tome). El
Greco also emerged as the greatest Spanish portraitist of
his time, as can be seen in such works as Fray Hortensio
Felix Paravicino (Museum of Fine Arts, Boston).JEAN-BAPTISTE GREUZE
Tournus 1725-Paris 1805
Greuze apprenticed in Lyons with the provincial por-
traitist Charles Grandon. Moving to Paris around 1750,
he entered the royal academy as a pupil of Natoire; five
years later he made a brief visit to Italy. A popular nar-ARTISTS BIOGRAPHIES 341