Visions of Flesh and Blood

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PROGRAMME NOTES GOYA VISIONS OF FLESH AND BLOOD A note from Executive Producer Thus when I heard that a wonderful curator Xavier Phil Grabsky Bray was finally bringing to fruition a long-held desire to mount the biggest and best Late Portraits show at 30 years ago I was working on a major series of films the National Gallery in London, it went without saying about modern Spain for the UK’s Channel 4. To make that we would do everything we could to feature it in the films properly my wife and I had moved to Spain an EXHIBITION ON SCREEN film. Our film looks beyond to learn the language and thoroughly explore the the later works to try and tell in 90 minutes the full land and its culture – both past and present. Living in story of surely one of the greatest artists in history. I’ll Madrid as we did meant there was one museum we leave you to make your own mind up but I hope you’ll spent a lot of time in: the Prado. end up agreeing with me. This spectacular museum captures just what a FILMED & DIRECTED BY DAVID BICKERSTAFF wonderful legacy of artists Spain has produced – and among those, one of the greatest, is Goya. Coming PRODUCED BY PHIL GRABSKY face to face with Goya’s paintings all those years ago MUSIC BY ASA BENNETT left me with a desire one day to make a film about him. 1773, Photography: David Bickerstaff David Photography: 1773, EOS Goya Visions of Flesh & Blood, Francisco Goya, Self Portrait, c. c. Portrait, Self Goya, Francisco Blood, & Flesh of Visions Goya EOS Visit: http://bit.do/eossubscribe RECOMMENDED READING #EOS Goya: The Portraits facebook.com/exhibitiononscreen by Xavier Bray Goya: A Life in Letters twitter.com/artonscreen ed. by Sarah Symmons Goya instagram.com/exhibitiononscreen by Enriqueta Harris www.exhibitiononscreenblog.com Self-portrait in the Studio, 1790-1795 Studio, the Self-portraitin FEATURED WORKS The Family of the Infante Don Luis, 1783-1784 Self-portrait in the Studio, 1790-1795 The Naked Maja, 1795-1800 Charles IV of Spain and his Family, 1800 The Duchess of Alba, 1797 The Duke of Wellington, 1812-1814 The Madhouse, 1812-1815 Ferdinand VII in Court Dress, 1814-1815 Self Portrait with Doctor Arrieta, 1820 Two Old Ones Eating Soup, 1820-1823 EXHIBITION ON SCREEN is produced and distributed by award-winning documentary film-makers Seventh Art Productions. They have been making films on art, music and history for over 35 years and in that time they have produced almost 200 titles. Most are available to download or purchase on DVD from their website: www.seventh-art.com/shop .

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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.
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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.
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Travelling in a Palimpsest
MARIE-SOFIE LUNDSTRÖM Travelling in a Palimpsest FINNISH NINETEENTH-CENTURY PAINTERS’ ENCOUNTERS WITH SPANISH ART AND CULTURE TURKU 2007 Cover illustration: El Vito: Andalusian Dance, June 1881, drawing in pencil by Albert Edelfelt ISBN 978-952-12-1869-9 (digital version) ISBN 978-952-12-1868-2 (printed version) Painosalama Oy Turku 2007 Pre-print of a forthcoming publication with the same title, to be published by the Finnish Academy of Science and Letters, Humaniora, vol. 343, Helsinki 2007 ISBN 978-951-41-1010-8 CONTENTS PREFACE AND ACKNOWLEDGEMENTS. 5 INTRODUCTION . 11 Encountering Spanish Art and Culture: Nineteenth-Century Espagnolisme and Finland. 13 Methodological Issues . 14 On the Disposition . 17 Research Tools . 19 Theoretical Framework: Imagining, Experiencing ad Remembering Spain. 22 Painter-Tourists Staging Authenticity. 24 Memories of Experiences: The Souvenir. 28 Romanticism Against the Tide of Modernity. 31 Sources. 33 Review of the Research Literature. 37 1 THE LURE OF SPAIN. 43 1.1 “There is no such thing as the Pyrenees any more”. 47 1.1.1 Scholarly Sojourns and Romantic Travelling: Early Journeys to Spain. 48 1.1.2 Travelling in and from the Periphery: Finnish Voyagers . 55 2 “LES DIEUX ET LES DEMI-DIEUX DE LA PEINTURE” . 59 2.1 The Spell of Murillo: The Early Copies . 62 2.2 From Murillo to Velázquez: Tracing a Paradigm Shift in the 1860s . 73 3 ADOLF VON BECKER AND THE MANIÈRE ESPAGNOLE. 85 3.1 The Parisian Apprenticeship: Copied Spanishness . 96 3.2 Looking at WONDERS: Becker at the Prado. 102 3.3 Costumbrista Painting or Manière Espagnole? .
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University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2014-01-01 Finally the Moon: Poems Kimberly Kathryn Mathes University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the English Language and Literature Commons Recommended Citation Mathes, Kimberly Kathryn, "Finally the Moon: Poems" (2014). Open Access Theses & Dissertations. 1291. https://digitalcommons.utep.edu/open_etd/1291 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. FINALLY THE MOON: POEMS KIMBERLY KATHRYN MATHES Department of Creative Writing APPROVED: Daniel Chacón, M.F.A., Chair Jeffrey Sirkin, Ph.D. David Ruiter, Ph.D. Charles Ambler, Ph.D. Dean of the Graduate School Copyright © by Kimberly Kathryn Mathes 2014 Dedication Frank X. Williams, Father Andrew X.M. Robison, Son FINALLY THE MOON: POEMS by KIMBERLY KATHRYN MATHES, B.A., M.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO December 2014 Table of Contents Table of Contents .............................................................................................................................v Preface..............................................................................................................................................1
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Curriculum Unit Is Recommended For: Spanish I and II
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Goya First Term 1963 Fine Arts C. We have not yet had occasion in this course to turn to Spanish art largely because it did not play a formative role in the neo-classical and romantic movements with which this course begins. During the eighteenth century the Spanish Colonial Empire lost ground rapidly to France and England, and the Spanish Monarchy, unlike many European monarchies, did not respond to the ideas of the Enlightenment. But eighteenth century Spain inherited a great tradition of painting from such masters as El Greco (Fear in the House of Simon*), Velasquez (Pope Innocent X*), Zurbaran (St Jerome*) and Murillo*. It was a painterly tradition, and it was this painterly tradition which Francisco Goya inherited. In his work, the painterly fluency of the Baroque, the Rococo and of the Venetians, survived the neo-classical attack upon painterly painting. Goya has often been called the last of the old masters and the first of the new. That is a trite statement because, firstly, the past always survives in the present, and, secondly, because there is nothing new under the sun. But the statement is illuminating in one way, at least; it does point to the fact that Goya achieved the greatest distinction in two rather distinct fields. In the first place he is, in a purely traditional way, one of the greatest of all portrait painters; an artist who combined exquisite subtly of colour and grace of paint with a most penetrating psychological insight into the character of his sitters. And after the death of Tiepolo in 1770 he was the only painter in Europe, I believe, who could handle history painting with the natural ease of the great post-Renaissance tradition without adopting the formal rhetoric of neo-classicism.* That was the traditional side of Goya’s genius—Goya’s hand, we might say.
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Copyright by Laura Mareike Sager 2006
Copyright by Laura Mareike Sager 2006 The Dissertation Committee for Laura Mareike Sager Certifies that this is the approved version of the following dissertation: WRITING AND FILMING THE PAINTING: EKPHRASIS IN LITERATURE AND FILM Committee: Alexandra K. Wettlaufer, Supervisor Janet K. Swaffar Lily Litvak Virginia Higginbotham Seth Wolitz Richard Shiff Writing and Filming the Painting: Ekphrasis in Literature and Film by Laura Mareike Sager, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2006 Dedication Für meine Eltern Peter und Else-Maria Sager, meinen Mann Ivan Eidt, und unseren Kater Strohmian Acknowledgements I would like to express my thanks and gratitude to Dr. Alexandra Wettlaufer for her guidance and insights and the stimulating conversations. I would also like to thank the members of my committee, Dr. Janet Swaffar for her careful editing and constructive criticism as well as for her encouragement and engagement, Dr. Virginia Higginbotham for her help with the discussions of film and film terms, Dr. Lily Litvak for her perspective on the Spanish texts and films, Dr. Seth Wolitz for his interesting and stimulating ideas and references, and Dr. Richard Shiff for his art historical perspective, so central to my work. I also thank my parents, Peter and Else-Maria Sager for all their interest in and support of my work, and my husband Ivan Eidt for his encouragement and love. v Writing and Filming the Painting: Ekphrasis in Literature and Film Publication No._____________ Laura Mareike Sager, Ph.D.
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Francisco José De Goya Y Lucientes 1746-1828
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'If Walls Could Talk!' – What We Can Learn from the First Modern Artist
‘If Walls could talk!’ – What we can learn from the first modern artist about the value of isolation to our ability to express ourselves. Scroll down for relevant artworks. A good while ago, in sun-soaked fields on the edge of Madrid, a crumbling old house that hadn’t been touched in half a century had itself a visitor. This house had belonged to Francisco Goya, who had been the most famous and important artist in Spain, and so this visitor’s discovery probably shocked him more than anyone had been shocked so far in the 19th century because as it turned out, the ghost of Francisco Goya was still there. If you’re under the impression that I mean there was a wobbling man fluttering around you’ll probably find the rest of this article very confusing because the shock came not in the form of any supernatural thing but as paintings on the walls. Completely miserable paintings - wretched scenes of death and violence and ghoulish old men and women – they are very mysterious works of art as well because they’d been given no titles (the ones they have now are from art historians,) no explanation, and absolutely no one had heard anything about them, or had had any idea that they were even there. These fourteen lonely paintings had just sat there for fifty years facing the opposite wall. Because Goya was so important though they were cut from the walls and by 1878 they found themselves to be in the Prado museum in Madrid, (where they now most likely have very interesting walls, full of art, to busy themselves with,) and then they ended up being called ‘The Black Paintings’- and this doesn’t make them sound like a whole lot of fun, but I promise you that they are very.
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Playful, Energetic, Empathetic—Can It Really Begoya? This Remarkable Exhibition Explores the Spanish Master Via the Everyday Peopleheknew Andloved,Saysnancy Durrant
Source: The Times {Saturday Review} Edition: Country: UK Date: Saturday 26, September 2015 Page: 10,11 Area: 1752 sq. cm Circulation: ABC 392483 Daily Ad data: page rate £16,645.00, scc rate £75.00 Phone: 020 7782 5000 Keyword: Goya Playful, energetic, empathetic—can it really beGoya? This remarkable exhibition explores the Spanish master via the everyday peopleheknew andloved,saysNancy Durrant round agallery within our modern view of the painter as a the Museo del Prado, gloomy, tormented satirist; a sort of Madrid, hang 14 Spanish Hogarth, forever churning paintings that in the out savage critiques of the troubled 19th century adorned society heinhabited. Athe walls of the Visitors to Goya: The Portraits at Quinta del Sordo the National Gallery, however, will (Villa of the Deaf Man) on the meet a very different man. This is the outskirtsofthecity.Thehouse,which first exhibition to concentrate on the no longer exists but was then artist’s portraits — of kings and surrounded by fields, belonged to queens, artists and thinkers, dukes and Francisco de Goya, who had lost his despots, friends and family, ladies, hearing after a near-fatal illness in liberals and little children — and spans his 1792. He painted the works directly entire career in the form. It tells the story onto the walls of his dining and living ofaGoya most of us don’t know: playful, rooms between 1819-23, with no experimental, energetic and empathetic intention of public display. These “Black — a man of the Enlightenment but one Paintings” are deeply disturbing — the who managed to negotiate the tricky and most famous is Saturn Devouringhis Son, dangerous politics of an age that took in and subjects range from a witches’ sabbath the French Revolution, the Napoleonic to a desperate cudgel fight, as well as two Wars, the fall of the Holy Roman Empire hideous old men eating soup — and are and the brutal return of absolute limited to a dark, ominous palette.
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