how many paintings did francisco goya paint
He had eight children by the same wife, Josefa Bayeu, only one of whom, Francisco Javier, survived to adulthood. He seems not to have been particularly loyal to Josefa but his affection for his son was profound and he made vigorous efforts to advance Javier’s social status and property as his sole heir. A severe and still incompletely diagnosed disease he suffered in 1792 while in the south of Spain left Goya completely deaf and, in many ways, cut off from his previous life. But it would be wrong to exaggerate as occurs in the case of Beethovem the tragedy of this isolation. One of the most remarkable aspects of Goya’s life is how successfully he retained friendships and, in fact, maintained royal and aristocratic favor. In turn, as evidenced by his retreat to France in 1824. the deeply oppressive quality of the restored monarchy in Spain following the French defeat in 1813 must have certainly pressed on Goya sorely. But perhaps political analogies to artistic patterns of creation are too facile. We have no notion of Goya’s response to the opening in 1819 of the Prado museum as a public institutiom a moment of great liberality nor do we know what he thought of Fernando VII’s suppression of a liberal constitution the following year.
Through the ensuing war with Britain and the occupation of Spain by French troops, Goya loyally served two successive Spanish monarchs, Carlos IV and Fernando VII. While executing with great alacrity and swiftness the number of official commissions required of him, he also worked independently for other patrons and created works of art on speculation, often small paintings of horrific subjects, which sold very well. Printmaking provided him a serial form (not unlike the early tapestry productions) in which to explore a wider range of ideas, and he is justly ranked as one of the greatest printmakers of any century. Some of his prints were in part commercial ventured in 1803 Goya sold the crown the rights to reproduce his Los Caprichos in return for an endowment for his son while other prints were not published during his lifetime, never leaving the closed, very personal world that Goya, a highly public and civic figure, managed to retain his entire life.
Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker, and the most important Spanish artist of the late 18th and early 19th centuries. Immensely successful in his lifetime, he is often referred to as both the last of the Old Masters and the first of the moderns. He was also one of the great portraitists of his time. 
The following is an incomplete list of Francisco Goya’s works.
Goya also used his art record moments of the country’s history. In 1808, France, led by Napoleon Bonaparte, invaded Spain. Napoleon installed his brother Joseph as the country’s new leader. While he remained a court painter under Napoleon, Goya created a series of etchings depicting the horrors of war. After Spanish royalty regained the throne in 1814, he then painted “The Third of May,” which showed to the true human costs of war. The work depicted the uprising in Madrid against French forces.
Through the German artist Anton Raphael Mengs, Goya started to create works for Spain’s royal family. He first painted tapestry cartoons, which were artworks that served as models for woven tapestries, for a factory in Madrid. These works featured scenes from everyday life, such as “The Parasol” (1777) and “The Pottery Vendor” (1779).
Francisco Goya, in full Francisco José de Goya y Lucientes, (born March 30, 1746, Fuendetodos, Spain—died April 16, 1828, Bordeaux, France), Spanish artist whose paintings, drawings, and engravings reflected contemporary historical upheavals and influenced important 19th- and 20th-century painters. The series of etchings The Disasters of War (1810–14) records the horrors of the Napoleonic invasion. His masterpieces in painting include The Naked Maja, The Clothed Maja (c. 1800–05), and The 3rd of May 1808: The Execution of the Defenders of Madrid (1814).
Goya began his studies in Zaragoza with José Luzán y Martínez, a local artist trained in Naples, and was later a pupil, in Madrid, of the court painter Francisco Bayeu, whose sister he married in 1773. He went to Italy to continue his studies and was in Rome in 1771. In the same year he returned to Zaragoza, where he obtained his first important commission for frescoes in the cathedral, which he executed at intervals during the next 10 years. These and other early religious paintings made in Zaragoza are in the Baroque-Rococo style then current in Spain and are influenced in particular by the great Venetian painter Giovanni Battista Tiepolo, who spent the last years of his life in Madrid (1762–70), where he had been invited to paint ceilings in the royal palace.
A serious illness in 1792 left Goya permanently deaf. Isolated from others by his deafness, he became increasingly occupied with the fantasies and inventions of his imagination and with critical and satirical observations of mankind. He evolved a bold, free new style close to caricature. In 1799 he published the Caprichos, a series of etchings satirizing human folly and weakness. His portraits became penetrating characterizations, revealing their subjects as Goya saw them. In his religious frescoes he employed a broad, free style and an earthy realism unprecedented in religious art.
From 1775 to 1792 Goya painted cartoons (designs) for the royal tapestry factory in Madrid. This was the most important period in his artistic development. As a tapestry designer, Goya did his first genre paintings, or scenes from everyday life.