PositiveThe New York Review of BooksTomlinson, a scholar who has been publishing on Goya for over three decades, is concerned to disentangle him from the retroactive politicizations of his admirers ... Tomlinson’s detailed account of this long and productive life is discriminating and trustworthy. Her revisionary examinations of what Goya did and why he did it seem generally plausible to me, and a bonus of the book is her close focus on the changing city life of Madrid. But the doyenne of a field of study may not be its best advocate. Where Goya first went to school; how he paid for his trip to Italy; to what extent he employed assistants; how, once deaf, he picked up signing; what Javier, his one surviving child, did with his life—these common-sense questions have, I expect, been resolved by Tomlinson to her own satisfaction so long ago that it does not occur to her now to discuss them ... Tomlinson has supplied a cool and corrective scholarly chronicle. But for the general reader’s purposes, [Robert] Hughes still serves Goya better.