Goya Archive 1995
"The selections on view from the Met's collection include some of the artist's most brilliantly improvisatory works. They range from figures of young couples, light-hearted but dissolute, in the early "Album B" (1796-97), to the nightmarish witches and goblins of "Album D" (1801-1803), to politically charged tableaux like the one captioned "God Save Us From Such a Bitter Fate" in Album E (1806-17), showing a young woman and her child being led away at knife point by a highwayman.
....The idea of bringing the audience in on this kind of backstage debate is an intelligent one. The museum has explored it on a smaller scale in the past and has plans to exploit it further in the very near future. ("Rembrandt/Not Rembrandt," which opens next month, will scrutinize yet another, much larger, body of paintings whose attributions seem to change by the day.)"
"From this headlong seizure of life we should not expect a calm and refined art, nor a reflective one. Yet Goya was more than a Nietzschean egoist riding roughshod over the world to assert his supermanhood. He was receptive to all shades of feeling, and it was his extreme sensitivity as well as his muscular temerity that actuated his assaults on the outrageous society of Spain." From Thomas Craven's essay on Goya from MEN OF ART (1931).
"...Loneliness has its limits, for Goya was not a prophet but a painter. If he had not been a painter his attitude to life would have found expression only in preaching or suicide." From Andre Malroux's essay in SATURN: AN ESSAY ON GOYA (1957).
"Goya is always a great artist, often a frightening one...light and shade play upon atrocious horrors." From Charles Baudelaire's essay on Goya from CURIOSITES ESTRANGERS (1842).
"[An] extraordinary mingling of hatred and compassion, despair and sardonic humour, realism and fantasy." From the foreword by Aldous Huxley to THE COMPLETE ETCHINGS OF GOYA (1962).
"His analysis in paint, chalk and ink of mass disaster and human frailty pointed to someone obsessed with the chaos of existence..." From the book on Goya by Sarah Symmons (1998).
"I cannot forgive you for admiring Goya...I find nothing in the least pleasing about his paintings or his etchings..." From a letter to (spanish) Duchess Colonna from the French writer Prosper Merimee (1869).