Pygmalion and Galatea (possibly 1812–1820)

Technique: Giclée quality print
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More about this artwork

Francisco de Goya, a master of the Romantic era whose works have captivated art enthusiasts for centuries, presents a captivating scene in his painting titled "Pygmalion and Galatea." Created around 1812–1820, this artwork dwells on the theme of transformation and the power of artistic creation, a recurrent motif in Goya's oeuvre.The painting skillfully portrays the myth of Pygmalion, a sculptor who falls in love with a statue he carved. According to the legend, his devotion was so profound that the goddess Aphrodite breathed life into the sculpture, turning it into a living woman named Galatea. Goya's rendition captures this magical moment of animation, emphasizing the themes of love and artistic obsession.In this sketch, the figures are depicted with emotion and motion that are characteristic of Goya's style. Pygmalion is seen in an active pose, his tools still in hand, as if he has just finished his work or is perhaps refining it as the transformation occurs. The statue, Galatea, appears almost to step out from her pedestal, suggesting movement from stone to flesh under the gaze of her creator. Her figure is rendered with a softness that contrasts with the hard lines of the sculpted base, enhancing the illusion of a metamorphosis.This drawing not only showcases Goya’s skillful hand but also his deep understanding of human emotions and mythical storytelling. The subtle shades and the dynamic composition invite viewers to ponder the relationship between creator and creation, an artist’s love for his work, and the mystical process of bringing art to life.

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Francisco José de Goya y Lucientes (30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of the late 18th and early 19th centuries. His paintings, drawings, and engravings reflected contemporary historical upheavals and influenced important 19th- and 20th-century painters. Goya is often referred to as the last of the Old Masters and the first of the moderns.