By Lambe Lamis 
Francisco Jose de Goya y Lucientes of Spain was a extremely well known painter and printmaker of the eighteenth century. His enormous attractiveness is attributed to his European fashion of painting, fetching the appreciation of the European kings and queens. Goya’s “The Parasol” or “the Quitasol,” painted in 1777, is by significantly his most productive portray. Most of his paintings were centered on women of all ages, together with this just one. Goya developed “The Parasol” when the Prince and the Princess of Asturias referred to as him to Madrid to paint cartoons for their dining space tapestry in the Royal Palace of El Pardo in Madrid. A duplicate of “The Parasol” was woven into wool for hanging in the palace.
This oil on linen painting, measuring 104 cm x 152 cm, is recognized for its outstanding color scheme and brightness. “The Parasol” or “The Quitasol” depicts a fairly, young female sitting on a hillock with a folded enthusiast in her right hand. Dressed in the then French design, she is carrying a dazzling yellow skirt with a blue shirt lined with fur, and a dim brown shawl. A purple scarf adorns her head. On her lap, rests a tiny black and white dog. Upcoming to her, stands a younger man dressed in Majo or Maja design and style. He is carrying a brown coat with a light red waistcoat. He retains a vivid environmentally friendly ‘parasol’ (umbrella) proper earlier mentioned the woman’s countenance. The left arm of the gentleman is folded to relaxation on his midsection. The folded admirer, the ‘parasol,’ and the pet suggest that the girl follows French fashion and belongs to a royal spouse and children, which results in an air of self-importance about her. In the qualifications, the leafy branches of a tall tree, bending opposite to the two human figures, depict windy weather. To the correct aspect of the damsel is a substantial stonewall. Thus, Goya has purposely positioned all the shiny colors, these as inexperienced, blue, crimson, and yellow in the heart of the picture to develop a cheerful influence, which was particularly compliant to the dreams of the royal relatives. The flirtatious smile of the protagonist alongside with her immediate gaze provides to the vivaciousness of the portray and offers a classic contact to it.
Francisco’s photographs had been usually appreciated for their light and shadow result. His creation of light on canvas was wonderful and this served him capture a warm and cozy setting in his paintings. In “The Parasol” or “The Quitasol,” much too he has utilised guide white paint to create brightness and shadow lines. The class and the natural beauty of this portray, dipped in ‘Classicism,’ generally had people today flocking to admire it at the Prado Museum (Museo del Prado) in Madrid, wherever it is at the moment displayed.