how many paintings did francisco de goya made
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.
In 1824 Francisco Goya arrived in the city of Bordeaux as a self-imposed exile from Spain. He was seventy-eight years old, stone deaf (since 1793) and profoundly out of favor with a political regime that had been his essential form of support. “Goya in fact arrived, deaf, old, awkward and weak,” his old friend and protector Leandro Fernandez de Moratin reported in a letter back to Madrid, “and without knowing a word of French and without bringing a servant (that no one needs more than he), and so happy and desirous of seeing the world.”3 He would live four more years, long enough to return briefly to Madrid to gain his official release with full pension from his post as Principal Court Painter. While in Bordeaux, Goya began a set of highly experimental miniatures on ivory, creating haunting images. He also produced a large set of lithographs called the Bulls of Bordeaux, working like a painter on the large lithographic stones on a scale completely new to him. In these prints he was able to merge the qualities of painting, drawing, and print-making in a manner that makes these powerful images justly stand as his last masterpieces.
A famed painter in his own lifetime, Francisco de Goya was born on March 30, 1746, in Fuendetodos, Spain. He began his art studies as a teenager and even spent time in Rome, Italy, to advance his skills. In 1770s, Goya began to work for Spanish royal court. In addition to his commissioned portraits of the nobility, he created works that criticized the social and political problems of his era.
In 1779, Goya won an appointment as a painter to the royal court. He continued to rise in status, receiving admission into the Royal Academy of San Fernando the following year. Goya began to establish a reputation as a portrait artist, winning commissions from many in royal circles. Works, such as “The Duke and Duchess of Osuna and their Children” (1787-1788), illustrate Goya’s eye for detail. He skillfully captured the tiniest elements of their faces and clothes.
The following is an incomplete list of Francisco Goya’s works.
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. 
Goya’s career at court began in 1775, when he painted the first of a series of more than 60 cartoons (preparatory paintings; mostly preserved in the Prado, Madrid), on which he was engaged until 1792, for the Royal Tapestry Factory of Santa Bárbara. These paintings of scenes of contemporary life, of aristocratic and popular pastimes, were begun under the direction of the German artist Anton Raphael Mengs, a great exponent of Neoclassicism who, after Tiepolo’s death, had become undisputed art dictator at the Spanish court. In Goya’s early cartoons the influence of Tiepolo’s decorative style is modified by the teachings of Mengs, particularly his insistence on simplicity. The later cartoons reflect his growing independence of foreign traditions and the development of an individual style, which began to emerge through his study of the paintings of the 17th-century court painter Diego Velázquez in the royal collection, many of which he copied in etchings (c. 1778). Later in life he is said to have acknowledged three masters: Velázquez, Rembrandt, and, above all, nature. Rembrandt’s etchings were doubtless a source of inspiration for his later drawings and engravings, while the paintings of Velázquez directed him to the study of nature and taught him the language of realism.
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.
The marriage and Francisco Bayeu’s 1765 membership of the Real Academia de Bellas Artes de San Fernando and directorship of the tapestry works from 1777 helped Goya earn a commission for a series of tapestry cartoons for the Royal Tapestry Factory. Over five years he designed some 42 patterns, many of which were used to decorate and insulate the stone walls of El Escorial and the Palacio Real del Pardo, the residences of the Spanish monarchs. While designing tapestries was neither prestigious nor well paid, his cartoons are mostly popularist in a rococo style, and Goya used them to bring himself to wider attention. 
In 1783, the Count of Floridablanca, favorite of King Charles III, commissioned Goya to paint his portrait. He became friends with the King’s half-brother Luis, and spent two summers working on portraits of both the Infante and his family.  During the 1780s, his circle of patrons grew to include the Duke and Duchess of Osuna, the King and other notable people of the kingdom whom he painted. In 1786, Goya was given a salaried position as painter to Charles III.