DOCSLIB.ORG

Cat Estambul.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cat Estambul.Pdf 2 3 GOYA ZAMANININ TANIĞI Gravürler ve Resimler GOYA WITNESS OF HIS TIME Engravings and Paintings Sergi Kataloğu Exhibition Catalogue Pera Müzesi Yayını Pera Museum Publication 55 İstanbul, Nisan April 2012 ISBN:........................... Küratörler Curators: Marisa Oropesa Maria Toral Yayına Hazırlayanlar Editors: Witness of Teşekkürler Acknowledgements: Zamanının Tanığı Begüm Akkoyunlu Ersöz Tania Bahar Museo de Bellas Artes de Bilbao His Time Soprintendenza Speciale per il Polo Museale Fiorentino, Gravürler ve Resimler Yayın Koordinatörü Publication Coordinator: Galleria degli Uffizi Zeynep Ögel Fundación de Santamarca y de San Ramón y San Antonio Engravings Fundación Zuloaga Proje Asistanı Project Assistant: Colección Joaquín Rivero Selin Turam and Paintings Miriam Alzuri Çeviriler Translations: Placido Arango Lucia Cabezón İspanyolca-Türkçe Spanish-Turkish Valentina Conticelli Roza Hakmen Teresa García Iban Çiğdem Öztürk Anna Gamazo Adolfo Lafuente Guantes İspanyolca-İngilizce Spanish-English Vanessa Mérida Alphabet Traducciones Fernando Molina López Antonio Natali İtalyanca-Türkçe Italian-Turkish Ignacio Olmos Kemal Atakay Marilyn Orozco José Remington İtalyanca-İngilizce Italian-English Helena Rivero Spaziolingue Milan Margarita Ruyra Ana Sánchez Lassa Türkçe Düzelti Turkish Proofreading: Ignacio Suarez-Zuloaga Müge Karalom Laura Trevijano Grafik Tasarım Graphic Design: Instituto Cervantes, Madrid TUT Ajans, www.tutajans.com Víctor García de la Concha, Montserrat Iglesias Santos, Juana Escudero Méndez, Ernesto Pérez Zúñiga, María José Magaña Renk Ayrımı ve Baskı Color Separation and Printing: Clemente, Diana Prieto Martin Mas Matbaacılık A.Ş., www.masmat.com.tr Kağıt Hane Binası, Hamidiye Mahallesi Instituto Cervantes, İstanbul Soğuksu Cad. 3, Kağıthane 34408 İstanbul-Türkiye Antonio Gil de Carrasco, Miguel Grajales Pedrosa, Ana Lobato T +90 212 294 10 00 / F +90 212 294 90 80 Sánchez © Suna ve İnan Kıraç Vakfı, Pera Müzesi İspanya Büyükelçiliği, Ankara Embassy of Spain in Ankara Meşrutiyet Caddesi No: 65, 34443, Tepebaşı, İstanbul Cristóbal González Aller, Carlos Ruiz González www.peramuzesi.org.tr İspanya Konsolosluğu, İstanbul General Consulate of Spain in İstanbul Bu katalog, 19 Nisan 2012 tarihinde Suna ve İnan Kıraç Vakfı Aurelio Pérez Giralda Pera Müzesi’nde açılan “GOYA, ZAMANININ TANIĞI Gravürler ve Resimler” sergisi için hazırlanmıştır. İşbirliğiyle Katkılarıyla This catalogue has been prepared for the exhibition “GOYA, In collaboration with In contribution with WITNESS OF HIS TIME Engravings and Paintings” opening on 19 April 2012 at the Suna and İnan Kıraç Foundation, Pera Museum. 8 8 İçindekiler Sunuş Foreword Suna, İnan & İpek Kıraç Suna, İnan & İpek Kıraç Contents 10 10 Modernlik, Francisco de Goya Modernity, Francisco de Goya Marisa Oropesa Marisa Oropesa 16 16 Goya, Evrensel Ressam Goya, Universal Painter Wifredo Rincón García Wifredo Rincón García 58 58 Hayal ve Akıl: Fantasy and Reason: Goya, Ressam ve Gravürcü Goya, Painter and Engraver Ricardo Centellas Salamero Ricardo Centellas Salamero 65 65 Katalog Catalogue Resimler 66 Paintings 68 Gravürler 128 Engravings 128 Kapriçyolar 131 Caprichos 131 Savaşın Felaketleri 213 Disasters of War 213 Boğa Güreşi 295 Tauromaquia 295 Atasözleri ya da Zırvalar 337 Proverbs or Folies 337 357 357 Yaşamöyküsü ve Zamandizin Biography and Timeline 370 370 Ensayos en Español Ensayos en Español 2012 BAHARINI BÜYÜK USTA GOYA’NIN GRAVÜR VE THE PLEASURE OF WELCOMING THE SPRING OF 2012 RESİMLERİYLE KARŞILAMANIN MUTLULUĞU WITH THE ENGRAVINGS AND PAINTINGS OF GREAT Sunuş MASTER GOYA Pera Müzesi açıldığından bu yana geniş bir yelpazede düzen- lediği sergilerle, Rembrandt, Miró, Chagall, Picasso gibi dünya Pera Museum has brought together art lovers with the works sanatının kilometre taşı niteliğindeki ustalarının eserlerini ül- of outstanding masters of world art, such as Rembrandt, Miró, Foreword kemiz sanatseverleriyle buluşturdu; desenden gravüre ve resme Chagall, and Picasso, through the broad range of exhibitions or- uzanan değişik seçkilerle, özenle hazırlanan kataloglarla, çocuk ganized since its inauguration. With diverse selections extend- eğitim programları, konferans ve panellerle, film gösterimleriy- ing from drawings and engravings to paintings, meticulously de- le, bu sanatçıları ülkemiz sanatseverlerine tanıtmaya çalıştı. signed catalogues, educational programs targeting children, Pera Müzesi bu kez de, dünya sanatının İspanya’dan yetişen conferences, panels, and film screenings, the Museum has bir büyük ustasını konuk ediyor: Francisco José de Goya y Luci- strived to introduce renowned artists to art lovers of Turkey. entes. This spring, Pera Museum welcomes a great Spanish master Büyük bir ressam ve dünyanın en büyük gravür ustaların- of world art: Francisco José de Goya y Lucientes. dan biri olan Goya, Kapriçyolar, Savaşın Felaketleri, Boğa Güreş- Comprised of the most famous engraving series entitled Ca- leri ve Atasözleri ya da Zırvalar başlıklı en ünlü gravür serileri ve prichos, Disasters of War, Tauromaquia and Proverbs or Follies, seçme resimlerinden oluşan Goya, Zamanının Tanığı: Gravürler as well as selected works of this exceptional printmaker and ve Resimler sergisiyle, ülkemiz sanatseverleriyle bu kapsamda painter, the exhibition entitled, Goya, Witness of His Time: En- ilk kez Pera Müzesi’nde buluşacak. gravings and Paintings will present the genius of Goya to art lov- 230 eserden oluşan bu denli geniş bir Goya sergisinin ülke- ers of Turkey in such a comprehensive way, for the first time at miz sanat çevrelerinde olduğu kadar dünyada da ilgi uyandıra- Pera Museum. Suna, İnan & İpek Kıraç cağı düşüncesindeyiz. We believe that this extensive Goya exhibition of 230 select- Suna ve İnan Kıraç Vakfı Pera Müzesi’nin Instituto Cervan- ed works will draw the attention of the art circles both in Turkey tes İstanbul işbirliğiyle İspanya’dan Bilbao Güzel Sanatlar Mü- and abroad. zesi ve Santamarca Vakfı koleksiyonları, özel koleksiyonlar ve Brought to life through the collaboration of Suna and İnan İtalya’da Uffizi Müzesi’nden gelen eserlerle, İspanya’nın önemli Kıraç Foundation Pera Museum, Instituto Cervantes İstanbul, küratörlerinden Marisa Oropesa ve Maria Toral ile birlikte ger- and renowned Spanish curators Marisa Oropesa and Maria Toral çekleştirdiği bu serginin 2012 yılının baharına farklı bir renk with works on loan from the collections of Bilbao Museum of getirmesini diliyoruz. Fine Arts, Santamarca Foundation, private collections from Ve diliyoruz ki, serginin Savaşın Felaketleri bölümünde yer Spain, and the Uffizi Museum in Italy, we believe that this exhi- alan eserlerin verdiği mesaj, ülkemizde, bölgemizde ve dünyada bition will add a unique color to the spring of 2012. “barış”ın önemini daha da iyi anlamamıza yardımcı olsun, It is our hope that the message conveyed by the works includ- “barış”a ışık tutsun. ed in the Disasters of War section of the exhibition will help us Bu vesileyle, başta bu projedeki en büyük destekçimiz Insti- understand the importance of “peace” in our country, our re- tuto Cervantes İstanbul’a, İspanyol Büyükelçiliği’ne ve serginin gion, and in the world, and will thus light the way for “peace.” gerçekleşmesine katkıda bulunan tüm kişi ve kuruluşlara içten We would like to take this opportunity to extend our heartfelt teşekkürlerimizi sunuyoruz. thanks to Instituto Cervantes İstanbul, our biggest support in this project, to the Spanish Embassy, and all individuals and or- ganization that contributed towards this endeavor. 8 9 Sanatçıların büyük çoğunluğu, 18. yüzyıla kadar aynı sanat- Up to the 18th century, most artists followed the same artistic sal şemaları izledi. Usta sanatçılar, kalıplaşmış yargıları ve gele- guidelines. Rarely were masters able to break away from the ste- Modernlik, neğin dayatmalarını ancak sayılı istisnai durumda yıkabilmiş- reotypes and conventionalisms of their time. Da Vinci, Rem- ti. Da Vinci, Rembrandt ya da Velázquez, kendi dönemlerinde brandt or Velázquez are examples of artists that were able to Francisco de Goya yeni yollar açmayı becerebilmiş birkaç sanatçı arasında yer alır- create new paths in the art of their time and today they are still ken, bugün de geçerliliklerini koruyor ve onları Olimpos influential, offering inspiration for artists, as if they were the Dağı’ndaki müzlerle bir tutan sanatçılar için ilham kaynağı ol- Muses of Olympus. The Spaniard painter, Francisco de Goya mayı sürdürüyorlar. İspanyol ressam Francisco de Goya da (1746-1828), is one of those artists who awakens from lethargy (1746-1828) uyuşukluktan silkinerek dur durak bilmeden yeni and tirelessly searches for new modes of expression. The new Modernity, sanatsal yollar arayan bu sanatçılardan biri. Gelenekleri boza- route he embarks on, which means breaking away from classical rak izlediği bu yeni rota, onu sanat tarihinde belirli bir zamanla conventionalisms, puts him in an exclusive group of artists that Francisco de Goya sınırlandırılamayacak seçkin sanatçılar grubuna dahil ediyor. can be considered timeless. Francisco de Goya akademik bir eğitim aldı; bu eğitimi, gi- Francisco de Goya received academic training that he com- derlerini kendi karşıladığı ve dönemin ressamları arasında âdet pleted with an obliged trip to Italy, which was common for paint- haline gelen zorunlu İtalya seyahatine çıkarak tamamladı. Ve- ers in his time and which he financed on his own. Travelling to nedik ve Roma gibi şehirleri gezdi, kendisine teknik bakımdan different cities such as Venice or Rome, he viewed in situ
Load more

Recommended publications
  • Witches Sabbath( the Great He- Goat)
    Witches sabbath( the great he- goat) Continue Otherwise known as the Great On-Goat, Francisco Goya provides a visually stunning and historically terrifying representation of this famous mural that adorned the mid-1800s that brought to life vivid and terrifying memories of the Spanish Inquisition. The description of the painting depicts Satan surrounded by a group of frightened and anxiously mutilated witches. Satan appears as an almost shady goat whose characteristics are not so easy to see or define. A goat man appears with his mouth wide open, as if he are shouting curses (or instructions) to his closest followers. He appeals to the modern belief that power is asserted through fear, not respect for power or title. Women's age varies, but throughout their work they have similar distortions. They seem frightened, but overwhelmingly obedient, as if they obey Satan's orders and intentions to obey. He is considered to be part of fourteen or more paintings depicting Goyah's Black Paintings. The story of Francisco Goya took extreme measures and risks on the heels of the terrible Spanish Inquisition, as well as the witch hunt and trials that followed soon after. Goya directly and visually attacks the feelings and mentality of the time, which reveled in superstitions and religious horror on the dark side of human nature. Although this mural (among other works by Goya) was moderately hidden during its creation for fear of recriminations in his artistic commentary, it is considered one of his best works - all of which appear later in his career. Francisco Goya retreated from the public eye and was constantly afraid to go crazy.
    [Show full text]
  • The Dark Romanticism of Francisco De Goya
    The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Punk Aesthetics in Independent "New Folk", 1990-2008
    PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames
    [Show full text]
  • Twenty-Three Tales
    Twenty-Three Tales Author(s): Tolstoy, Leo Nikolayevich (1828-1910) Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Description: Famous for his longer novels, War and Peace and Anna Karenina, Leo Tolstoy displays his mastery of the short story in Twenty-Three Tales. This volume is organized by topic into seven different segments. Part I is filled with stories for children, while Part 2 is filled with popular stories for adult. In Part 3, Tolstoy discreetly condemns capitalism in his fairy tale "Ivan the Fool." Part 4 contains several short stories, which were originally published with illustrations to encourage the inexpensive reproduction of pictorial works. Part 5 fea- tures a number of Russian folk tales, which address the themes of greed, societal conflict, prayer, and virtue. Part 6 contains two French short stories, which Tolstoy translated and modified. Finally, Part 7 contains a group of parabolic short stories that Tolstoy dedicated to the Jews of Russia, who were persecuted in the early 1900©s. Entertaining for all ages, Tolstoy©s creative short stories are overflowing with deeper, often spiritual, meaning. Emmalon Davis CCEL Staff Writer Subjects: Slavic Russian. White Russian. Ukrainian i Contents Title Page 1 Preface 2 Part I. Tales for Children: Published about 1872 5 1. God Sees the Truth, but Waits 6 2. A Prisoner in the Caucasus 13 3. The Bear-Hunt 33 Part II: Popular Stories 40 4. What Men Live By (1881) 41 5. A Spark Neglected Burns the House (1885) 57 6. Two Old Men (1885) 68 7. Where Love Is, God Is (1885) 85 Part III: A Fairy Tale 94 8.
    [Show full text]
  • Echoes of the Gothic in Early Twentieth- Century Spanish Music
    Echoes of the Gothic in Early Twentieth- Century Spanish Music Jennifer Lillian Hanna ORCID: 0000-0002-2788-9888 Submitted in total fulfilment of the requirements of the Master of Music (Musicology/Ethnomusicology) November 2020 Melbourne Conservatorium of Music Faculty of Fine Arts and Music University of Melbourne ii Abstract This thesis explores traces of the Gothic in music and related artforms concerning Spain in the early twentieth century, drawing together a number of case studies with varied proximity to Manuel de Falla and his artistic milieu. A range of Gothic perspectives are applied to a series of musical works, repertories, constructions of race, modes of performance and stage personae, and this examination is preceded by an overview of Gothic elements in their nineteenth-century precursors. The connection between Granada’s Alhambra and the Gothic is based not only on architectural style, but also nocturnal and supernatural themes that can be traced back to the writings of Washington Irving. The idea of Alhambrism and Romantic impressions of the Spanish Gypsy, both of which are associated with the magical, primitive, mystic and nocturnal elements of the Gothic, are also related to constructions of flamenco and cante jondo. The Romantic idea of the Spanish gypsy evolved into primitivism, and attitudes that considered their culture archaic can be placed in a Gothic frame. Flamenco and the notion of duende can also be placed in this frame, and this idea is explored through the poetry and writings of Federico García Lorca and in his interaction with Falla in conceiving the Cante jondo competition of 1922.
    [Show full text]
  • Pedro Sánchez Núñez
    RECEPCIÓN ACADÉMICA DE PEDRO SÁNCHEZ NÚÑEZ 53 Palabras de la Presidenta de la Academia Esta Real Academia celebra Sesión pública para recibir en nuestra Institución al Ilmo. Sr. D. Pedro Sánchez Núñez, Abogado y Académico Correspondiente en la Ciudad de Dos Hermanas. El título de la conferencia de esta tarde es atractivo en la medida en que se reúnen en él tres nombres que tienen mucho interés: “Goya, la Duquesa de Alba y los cuadernos de Sanlúcar”. Por una parte, se analizarán aspectos de la apasionante biografía de Goya y de la no menos apasionante vida de la Duquesa de Alba, que fue modelo de Goya, y cuyos retratos son obras de las más importantes de la pintura española de todos los tiempos. Y el punto de encuentro de Goya y la Duquesa, Sanlúcar de Barrameda, donde la duquesa se retiró al quedar viuda. En Sanlúcar Goya inventó la crónica social con los dibujos de personas y situaciones del día a día, dibujos que tomaba en unos cuadernos que han llevado el nombre de Sanlúcar de Barrameda a lo más alto de la investigación y de la historia de la pintura española, donde son conocidos como “Cuadernos de Sanlúcar”, que fueron el origen de los “Caprichos” y del resto de la obra grabada de Goya. Muy gustosa, aprovecho la ocasión que nos brinda esta interesante conferencia para entregar al conferenciante el título que le acredita como Académico Correspondiente en la Ciudad de Dos Hermanas. Discurso de recepción académica pronunciado el 13 de mayo de 2013. 55 Palabras de presentación por el Académico Numerario Juan Rodríguez Romero Excma.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • Modernism, Liberation and a New Way of Seeing
    Diploma Lecture Series 2013 Revolution to Romanticism: European Art and Culture 1750-1850 Goya Michael Hill 20/21 February 2013 Lecture summary: Francisco de Goya y Lucientes (1746-1828) was the quintessentially ambitious artist, competing with the greats of the past and mastering every genre of painting. He became deaf mid-way through his career, plunging him into a silent world of visual narrative. This perhaps accounts for something of the intense emotionalism of his storytelling, which culminates in the so-called ‘Black paintings’ of his last years. Slide list: 1. Francisco de Goya y Lucientes (1746-1828), I am still learning, 1824-28 2. Goya, The Parasol, 1777, Prado 3. Goya, Spring, or The Flowergirls, Prado, 1787 4. * Goya, Grape Harvest,1787, Prado 5. Goya, San Bernardino of Siena Preaching before Alfonso V of Aragon, San Francesco Madrid, 1780 6. Goya, Carlos IV in Red, 1789, Prado 7. Goya, The Duchess of Alba, 1797, Hispanic Society of America 8. * Goya, Dona Isabel Cabos de Porcel, 1805, London NG 9. Goya, Family of Charles IV, 1800, Prado 10. Goya, Yard with Lunatics, oil on tin, 1794, Meadows Mus, Dallas. 11. Goya, Prison Interior, 1810-14, Prado 12. Goya, Clothed Maja,1800, Prado 13. Goya, Los Caprichos, Aquatint, 1799 14. Goya, The Sleep of Reason produces Monsters, from Los Caprichos, 1797-99, Acquatint 15. * Goya, This is Worse, from The Disasters of War, Acquatint, 1812-15 16. Goya, For Being Born Somewhere Else, from Album C (Images of the Inquisition), Sepia Wash, 1814-23 17. Goya, 2nd May 1808, 1814, Prado 18.
    [Show full text]
  • Collected Writings
    THE DOCUMENTS O F TWENTIETH CENTURY ART General Editor, Jack Flam Founding Editor, Robert Motherwell Other titl es in the series available from University of California Press: Flight Out of Tillie: A Dada Diary by Hugo Ball John Elderfield Art as Art: The Selected Writings of Ad Reinhardt Barbara Rose Memo irs of a Dada Dnnnmer by Richard Huelsenbeck Hans J. Kl ein sc hmidt German Expressionism: Dowments jro111 the End of th e Wilhelmine Empire to th e Rise of National Socialis111 Rose-Carol Washton Long Matisse on Art, Revised Edition Jack Flam Pop Art: A Critical History Steven Henry Madoff Co llected Writings of Robert Mothen/le/1 Stephanie Terenzio Conversations with Cezanne Michael Doran ROBERT SMITHSON: THE COLLECTED WRITINGS EDITED BY JACK FLAM UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles Londo n University of Cali fornia Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1996 by the Estate of Robert Smithson Introduction © 1996 by Jack Flam Library of Congress Cataloging-in-Publication Data Smithson, Robert. Robert Smithson, the collected writings I edited, with an Introduction by Jack Flam. p. em.- (The documents of twentieth century art) Originally published: The writings of Robert Smithson. New York: New York University Press, 1979. Includes bibliographical references and index. ISBN 0-520-20385-2 (pbk.: alk. paper) r. Art. I. Title. II. Series. N7445.2.S62A3 5 1996 700-dc20 95-34773 C IP Printed in the United States of Am erica o8 07 o6 9 8 7 6 T he paper used in this publication meets the minimum requirements of ANSII NISO Z39·48-1992 (R 1997) (Per111anmce of Paper) .
    [Show full text]
  • Inventing Goya
    Inventing Goya Joseph R. Jones The Encounters conference took place because in 1898 or thereabouts, one great Spanish artist encountered the work of another, and the result of that encounter has become an object of study and admiration for everyone present. We are allotting most of our time today to the music of one of these two geniuses, but it is appropriate to take half an hour to remember the great painter who inspired the music, and whose very name now stands for a troubled and colorful time in Spain’s history. To quote Granados’ librettist, Periquet: “The word “Goya” is not only a surname but the symbol of a period of farces and tragedy, tonadillas and riots, bullfights and aristocrats, true love and dalliances.”1 Granados and Periquet were both, as we know, obsessed with Goya’s art. But they were also fascinated by the personality of the artist. They considered him to be not only the consummate painter of Spain in all its aspects, even its darkest, but also the incarnation their country’s eternal values of manliness, loyalty, honesty, and patriotism. They made Goya a character in their first tonadilla, “La maja de Goya,” and Granados clearly planned to include him in the opera Goyescas. We know this because when the composer began to consider turning his piano suite into an opera, he jotted down, in notebooks that still survive, four different story lines, in which he describes his hero as “famous artist, lover of duchess” or “artist and student.” In one set of notes, he describes the opening scene as showing the arrival of Diego de Goya y Lucientes (identified by his initials) in a carriage, a calesa, which recalls the original and now puzzling title of the opera, Goyesca.
    [Show full text]
  • GOYA+BUÑUEL. Los Sueños De La Razón
    LOS SUEÑOS DE LA RAZÓN Colaboran Organizan GOYA+BUÑUEL. Los sueños de la razón CATÁLOGO EXPOSICIÓN Edita La Fundación Ibercaja y El Gobierno de Aragón desean expresar su Gobierno de Aragón Gobierno de Aragón agradecimiento a las siguientes entidades prestadoras Javier Lambán Montañés Presidente Fundación Bancaria Ibercaja Biblioteca Nacional de España, Madrid María Teresa Pérez Esteban Consejera de Educación, Cultura y Deporte Colección Félix Palacios Remondo, Zaragoza Coordinación Colección Padres Escolapios, Madrid Fundación Bancaria Ibercaja Aixa Álvarez Almazán Colección Real Sociedad Económica Aragonesa de Amigos del País, Zaragoza Honorio Romero Herrero Presidente Diputación de Zaragoza José Luis Rodrigo Escrig Director General Textos Filmoteca Española, Madrid Juan Carlos Sánchez Bielsa Director Obra Social Gonzalo M. Borrás Gualis, José Ignacio Calvo Ruata, Jean-Claude Carrière, Museo de Zaragoza Francisco Javier Lázaro Sebastián, Juan Carlos Lozano, Amparo Martínez Museo Goya. Colección Ibercaja-Museo Camón Aznar, Zaragoza Comisariado Herranz, Jesús Rubio Jiménez, Agustín Sánchez Vidal, Fernando Sanz Museo Lázaro Galdiano, Madrid Ferreruela, Carlos Saura. José Ignacio Calvo Ruata Museo Nacional Centro de Arte Reina Sofía, Madrid © de los textos, sus autores Amparo Martínez Herranz Museo Nacional del Prado, Madrid © de las fotografías, sus autores Museo Thyssen-Bornemisza, Madrid Comité organizador Residencia de Estudiantes, Madrid Traducción Gobierno de Aragón Universidad de Zaragoza, Archivo Histórico Universitario Cillero &
    [Show full text]