In the context of Summer (Goya), analyze the Fifth Series of Tapestries of the Description.
Apart from being recognized as one of the most important Spanish artists during the late eighteenth and early nineteenth centuries, Francisco José de Goya y Lucientes was also highly associated with the royal workshops of the Spanish monarchy. Beginning in 1774, Goya worked in this setting throughout the rest of his life which covered a span of four ruling monarchies. After being asked by painter Anton Raphael Mengs to work on preliminary paintings for the Royal Tapestry Factory, Goya painted sixty-three large cartoons on commission for Charles III. Within these cartoons, twelve were grouped and named the Fifth Series of Francisco Goya’s Tapestry Cartoons (Fig. 1). Included in this series is Summer (El verano). All the paintings of the fifth series are intended for the dining room of the Prince of Asturias, that is to say of the one who was to become Charles IV and his wife Marie Louise of Parma, in the Pardo Palace. The painting was painted in the fall of 1786. It was considered lost until 1869, when the canvas was discovered in the basement of the Royal Palace of Madrid by Gregorio Cruzada Villaamil, and was returned to the Prado Museum in 1870 by orders of January 19 and February 9, 1870, where it is exhibited in room 943. The canvas is mentioned for the first time in the catalog of the Prado Museum in 1876.Fig. 1; List of Francisco Goya's tapestry cartoons
Francisco Goya List of Francisco Goya's tapestry cartoons Gregorio Cruzada Villaamil cartoon Anton Raphael Mengs Pardo Palace Royal Tapestry Factory