This quote from the diary of Francisco de Goya in 1808 creates a vivid image of the historical events which were only too real in his life. Goyas lifetime spanned eighty two years during that period there was radical shift in Spain's political and social system. Goya lived to see The Enlightenment, hierarchal powers of the church and the monarchy challenged, and the percentage of aristocrats declined with such happenings occurring there is no wonder why Goyas artwork turned to more dramatic and meaningful representations. During the 1780's, Goya became a Libertarian; sympathizing with the Enlightenment and Revolution. The Enlightenment was a time of great change, reality was identified with reason and rationality was identified with progress and advancement. There begin a progress of mankind to final perfection but the paradox of this century was that as it celebrated its promises, it had to criticize them, since the freedom to dissent was also the basis of the uprising against political and religious systems . These upheavals developed into many brutal events which Goya witnessed and his artwork began to focus on.
Goya did not respond to the growing Neoclassic trend during a brief visit to Rome in 1781. Early works reflected the late Rococo vein and the influence of Jean-Baptiste Tiepolo, an Italian Rococo painter, who Goya met on a trip to Madrid in 1766 . Goya became was a much esteemed at court especially as portrait painter. He now abandoned Rococo for Neo-Baroque style based on Vela¡zquez and Rembrandt, the masters he came to admire the most. As seen in The Family of Charles IV (fig2) which deliberately echo's Vela¡zquez Maids of Honor (fig3.) In both works shadowy canvases hang behind the group and the light pours in from the side. The brushwork, too, has an incandescent sparkle rivaling that of the Maids of Honor . When he was appointed court painter in 1786, he entered a world of corruption, elegance, sensuality and deceit.