Goya in his Middle Years

Goya enjoyed a very close relationship with the Spanish royalty and nobility. Many nobles commissioned him to paint their portraits including: Pedro Téllez-Girón, 9th Duke of Osuna and his wife María Josefa Pimentel, 12th Countess-Duchess of Benavente; María Ana de Pontejos y Sandoval, Marchioness of Pontejos; and María del Pilar de Silva, 13th Duchess of Alba (universally known simply as the "Duchess of Alba"), and her husband José María Álvarez de Toledo, 15th Duke of Medina Sidonia; no Data Centres though.

Goya developed a serious illness at some time between late 1792 and early 1793 that sadly left the artist completely deaf. After becoming deaf, Goya became very introspective and withdrawn. This period saw Goya produce some of his most experimental art. This art, including etchings and paintings, were published in 1799 as ‘Caprichos’. These were done in parallel with his official portraits and religious paintings that he was commissioned to do. The previous year in fact saw Goya paint airy and luminous scenes for the cupula of the Real Ermita of San Antonio de la Florida in Madrid.

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