Francisco de Goya
Spanish painter and etcher (1746-1828), court painter to three kings, whose career runs from Rococo tapestry cartoons to the war reportage of the 3rd of May 1808 and the black paintings of his own walls — the documented arc from old-regime court art into modern painting. Deaf from 1792, exiled to Bordeaux in 1824, he died there in 1828.
Why this wins its question: Goya content is abundant; claim-bound Goya is not. The arc from court Rococo to war reportage to the black paintings — and the exile ending that joins him to the instance's recurring exile thread — comes from a major holding institution's account, with the Velázquez dialogue carried by the graph.
Claims
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Goya was appointed court painter to Charles III in 1786 and First Painter to Charles IV in 1799, serving three kings across the collapse of the old regime; a severe illness left him deaf in 1792.
He witnessed the Peninsular War and the repression that followed and recorded them — in works such as the 3rd of May 1808 — and decorated his own house with the black paintings, the sombre late register the National Gallery's account emphasizes.
His clothed and nude Majas answer Velázquez's Rokeby Venus in the National Gallery's own telling — one Spanish court painter replying to another across 150 years; Goya went into exile in Bordeaux in 1824 and died there in 1828.