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Goya Sü Tiempo, So Vida, Sus Obras MUSEO NACIONAL DE ARTE CONTEMPORÁNEO Ml/sSE O NACIONAL DE ARTE CONTEMPORÁNEO BIBLIOTECA JBÍ0804N COYA SU TIEMPO, Sü VIDA, SUS OBRAS POR EL CONDE DE LA VINAZA Correspondiente de las Reales Academias de Bellas Artes de San Fernando y de la Historia MADRID TIPOGRAFÍA DE MANUEL G. HERNÁNDEZ IMPRESOR DE LA REAL CASA Libertad, 16 duplicado 1887 GOYA SU TIEMPO, SU VIDA, SUS OBRAS GOYA Sü TIEMPO, SO VIDA, SUS OBRAS POR EL CONDE DE LA VINAZA Correspondiente de las Reales Academias de Bellas Artes de San Fernando y de la Historia Doctor en Filosofía y Letras MADRID TIPOGRAFÍA DE MANUEL G. HERNÁNDEZ IMPRESOR DE LA REAL CASA Libertad, 16 duplicado -,1887 í LA REAL ACADEMIA DE BELLAS ARTES DE SAI LUIS DE ZARAGOZA Su individuo de numere Q,. 3t ©Otéele de- t& ^WUXKCb PREFACIO RÍTICOS ilustres y eruditos de selecta y profundísima lectura han narrado la vida y estudiado las obras de D. Francisco Goya." Desde los elogios que le tributó Ceáñ Bermúdez hasta la ilustración al re• trato de Munarriz, debida á la docta pluma del Sr. Tubino, es considerable el número de páginas á que ha servido de asunto el pintor de Fuendetodos. Francia inauguró en el "Magassín pittores- que" (i) la serie de artículos y de libros que han (i) 1834, pág. 324. (Artículo ilustrado con la reproducción grabada malamente en madera del retrato de Goya, que va al frante de los c Capri• chos,} y dos láminas de esta colección.) / 2 motivado las creaciones del pintor aragonés. Los grabados han sido el objeto de preferente estudio al otro lado del Pirineo, y la extensa monografía que en 1877 publicó Mr. Paul Lefort (1), es un escogido y sazonado fruto literario. Así lo recono• ció nuestra Real Academia de San Fernando al aceptar el informe emitido por su individuo de número D. José María Avrial (2). Como biógrafo del fresquista de la Florida, el Sr. Lefort aventaja á todos los franceses. Las páginas suyas insertas en la "Histoire des peintres de toutes les éco- les" (3), y las que preceden su riquísimo catálogo - de estampas, por su sencillez y sobriedad, figuran dignamente al.lado.de las mejores en su género. Precedieron, á Lefort en la tarea á que él consa• gróse, Laurent Matheron (4) y Charles Iriarte (5), cuyas obras, estimables como trabajos críticos, há- Uanse plagadas de errores en su parte biográfica. (1) «Francisco Goya. Etude biographique et critique suivie de l'essai d'un catalogue raissonné de son reuvre, gravé et lithographié.» París. Re- nouard: H. Loones, sucr., 1877;—después de haber viáto la luz pública en la interesante «Gazette des Beaux Arts.» (2) Boletín. AfioIL 1882, núm. 11. (3) «Ecole espagnole.» (4) «Goya.» París, Schulz et Thullié, rué de Seine, 14.—1858. (5) «Goya, sa biographie, les fresques, les toiles, les tapisseries, les eaux fortes et le catalogue de l'ceuvre, avec cinquante planches inedites d'aprés les copies de Tabar, Bocourt et Ch. Iriarte.»—París, Henri Pión, 1867—D. Emilio Castelar, con el epígrafe «Un pintor espaflol juz• gado por un Crítico francés,». escribió un artículo laudatorio por todo ex• tremo para el Sr^Iriarte, ocupándose; á la par que de la obra de este crítico, de la de Goya. Reimpreso en el libro « Un viaje á París durante el estable• cimiento de la República,» Madrid, 1878, cap. XX. Elogios sinceros, cariñosos y justos tributaron á Goya ambos publicistas, y con ellos acaso des• enojaran los manes del eximio aragonés, ofendidos por Luis Viardot én sus,"Museos'de España" (i). Theophile Gautier y E. Piot, (2), P. Mantz (3), G. Brunet (4), Ch. Baudelaire (5), Ph. Burty (6), L. Lagrange (7), G. Duplessis (8), P. Larouse (9), y, entre los ingleses, W. Stirling (10), han dado á conocer fuera de España, en eruditísimas y entu• siastas páginas, al maestro insigne de la corte de Carlos IV (n). En España, el benemérito D. Valentín Carde- (1) «Les Musées d'Espagne»... suivis de notices biograph¡4ues sur les principaux peintres de l'Espagne, 1839 (1860 3.me edit.), págs. 152, 331 y 332- (2) cLe cabinet de 1'amateur et de l'antiquaire,» 1842, pág. 337. (3) «Archives de l'art frangais,» 1851-1852, pág. 319. — «Dictiónaire de la cohversation,» 2.me edit., t. X, pág. 44. —cGázette des Beaux Arts.» (4) «Nouvelle biographie genérale,» Didot, 1857, t.XXI, pág. 514. (5) «Le prese'nt,» revista" Octubre, 1857, pág. 188. (6j Notas aj, artículo de D. Valentín Carderera, «Francisco Goya, sa vie, ses dessins et ses eauxfortes,» publicado en la «Gazette des- Beaux Arts,» tomos VII y XV; 1860, Agosto; 1863, Setiembre. (7) «Gazette des Beaux Arts,» 1865. (8) «Les merveilles de la gravure.» París, L. Hachette y C.°, 1869. III. La gravure en Espagne: Giusseppe Ribera et Francisco de Goya, págs. 88-91-92. (9) « Grand'dictiónaire universel du XIX siécle.» T. huitiéme, Pa• rís, 1872, págs 1.492 y 1.493. < (10) «Annals of the Artists of Spain,» vol. III, chap. XVI. Reigns of theBourbons! London, MDCCCXLVIII. (11) Han visto también la luz pública trabajos sobre Goya en las si• guientes publicaciones: «Bulletin de l'alliance des arts,» 1842, 1.1, pág. 94; —;«L'Éncyclopedie du XIX siécle,» 1851, t. XIII, pág. 631;—«Manuel de l'Amateur d'Esfampes, 1854-56;—«Revue encyclopedique,» t. L, pág. 329. 4 rera fué el primero que eii "El Artista" (i) escri• bió sobre Goya con la pluma del "crítico impar• cial, del amigo de las artes, del profesor inteli• gente, del compatriota complacido en las glorias de su país natal," según, treinta y tantos años más tarde, había de decir D. José Caveda (2), poco tiempo después de haber rendido, el citado señor Carderera, un segundo homenaje al genuino pin• tor de nuestras costumbres1 nacionales (3). Casi á la par en que terminábase la impresión de las "Memorias para la historia de la Real Academia de San Fernando y de las Bellas Artes en Espa• ña," publicóse en Zaragoza una colección de epís• tolas de D. Francisco Goya, á su amigo y protec• tor D. Martín Zapater y Clavería, y algún otro documento relacionado con la vida de aquél (4)); y en 1870, D. Gregorio Cruzada Villaamil, Secre• tario del Museo de tapices del Escorial, imprimió un interesantísimo libro sobre los tapices goyescos que dio á la Corona la fábrica de Santa Bárba• ra (5), cuyo libro es el único castellano que po• seemos acerca del heredero del gran Velázquez. Los Sres. D. Pedro de Madrazo, D\ Enrique Mé- (1) Madrid, 1835. (2) < Memorias para la historia de la Real Academia de San Fernando y de las bellas artes .en España, > 1.1. Madrid, 1867, págs. 208 á 221. (3) Los artículos de la «Gazette des Beaux Árts,» anotados por Mr. Ph. Burty. (4) Francisco Zapater y Gómez. «Goya.» «Noticias biográficas. > Za• ragoza, 1868. Imprenta de <La Perseverancia,» periódico diario en cuyo ÍoUetín se insertaron primero. ~ (5) «Los tapices de Goya.» Madrid, Rivadeneyra, 1879. ' '" 5 lida y D. Manuel Ossorio y Bernard, han dado á la estampa apuntes biográficos y curiosas noticias. Este, en su "Galería Biográfica de Artistas del siglo XIX" (i), el Sr. Mélida en el "Arte en Es• paña (2), y el Sr. Madrazo en la "Ilustración Es• pañola y Americana," en el texto de la ''Colec• ción dé cuadros selectos de la Academia de San Fernando," y en afiligranados libros (3). Los seño• res Caveda, Carderera, Avrial, Rada y Delgado, Rivera, Nougués, Fernández y González, Cueto y Tubino, han acaudalado la erudición sobre Goya, con sus noticias histórico-descriptivas (4). Las páginas aludidas, los documentos inéditos que existen en el Archivo de Palacio, los no co• nocidos, quizás, que guardan los de Simancas, Al• calá de Henares (5) y muchas casas de la grande- (1) Madrid, 1870, 1.1, págs. 311 á 320. (2) Tomo II. Madrid, imprenta de M. Galiano, 1863, págs. 266 á 281. —«Los desastres de la guerra,» colección de 80 láminas, inventadas y gra• badas al agua fuerte, porD. Francisco Goya. (Con cuatro estampas repro• ducidas en facsímile por la foto-zincografía.) (3) «Almanaque de la Ilustración,» 1880. D. Francisco Goya yLu- cientes (Serie de semblanzas de ilustres pintores), págs. 54, 55 y 56.— «Catálogo descriptivo é histórico del Museo del Prado de Madrid.» Parte I. Escuelas italianas y españolas. Madrid, Rivádeneyra, 1872, págs. 404 á 441.—«Viaje artístico de tres siglos por las colecciones de cuadros de los Reyes de España.» Barcelona, D. Cortezo y C.a, 1884. Caps. XVIII y XIX. (4) «Cuadros selectos de la Real Academia de Bellas Artes de San Fernando, publicados por la misma,» Madrid, imprenta de M. Tello. MDCCCLXX-MDCCCLXXXIII. Cuadernos 3.°,4-°, S-°. 8.°, 9° (5) Como el archivo de la Real Casa se creó por el señor Rey don Fernando VII, lo mismo que todas las oficinas de la Corona, enelaño 1814, sólo desde esta fecha en adelante existe completa la documentación refe• rente á los asuntos de la misma. De los reinados anteriores, las coleccio- 6 za, algunos que se leen registrados en el Cátalo-^ go del Museo Británico (i), los que se conser• van en el Archivo de la Metropolitana del Pilar, de Zaragoza, y la correspondencia con D. Martín Zapater solo en parte, dada á la estampa, por el sobrino de éste, son materiales quehan de servir un día para la formación de un libro en el que sé narren los accidentes de la vida de Goya, depura• dos de todo error, y se muestre la alteza del fres• quista, del incomparable autor de retratos, del original traductor, en el lienzo y en el tapiz, de las costumbres españolas, del arrogante grabador al agua fuerte; en una palabra, la alteza del genio originalísimo, múltiple, indisciplinado, epigramá• tico, siempre sublime, á quien dio cuna Fuende- todos, y Burdeos tierra sagrada.
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