DOCSLIB.ORG

Goya in the Metropolitan Museum Ofart / Colta Ives and Susan Alyson Stein

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Goya in the Metropolitan Museum Ofart / Colta Ives and Susan Alyson Stein Coya in The Metropolitan Museum ifArt { { . Coya in The Metropolitan Museum ifArt Colta Ives and Susan Alyson Stein THE METROPOLITAN MUSEUM OF ART NEW YORK This publication is issued in conjunction with an exhibition held at The Metropolitan Museum ofArt, NewYork, September I2-December 3I, 1995 The exhibition is made possible by QOYAFOODS Published by The Metropolitan Museum ofArt, New York Copyright © 1995 by The Metropolitan Museum ofArt, New York All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publishers. John P. O'Neill, Editor in Chief Barbara Burn, Executive Editor Margaret Aspinwall, Editor Tsang Seymour Design Studio, Designer Matthew Pimm and Rich Bonk, Production Robert Weisberg, Computer Specialist All photographs are by the Photograph Studio, The Metropolitan Museum ofArt, except figs. ro, 32, and 42, which were supplied by the owners ofthe paintings. Printed by Meridian Printing Company, East Greenwich, Rhode Island Cover: Detail of Don Manuel Osorio Manrique de Zuniga (see fig. I). The Jules Bache Collection, 1949 (49.7.41) Frontispiece: Self-Portrait, ca. 1795-1800. Brush and gray wash; 152 x 91 mm. Harris Brisbane Dick Fund, 1935 (35.ro3.1) Library ofCongress Cataloging-in-Publication Data Metropolitan Museum ofArt (NewYork, N.Y) Goya in the Metropolitan Museum ofArt / Colta Ives and Susan Alyson Stein. p. cm. Exhibition held at the Metropolitan Museum ofArt, New York, September 12-December 31, 1995. Includes bibliographical references. ISBN 0-87099-752-1 (alk. paper) 1. Goya, Francisco, 1746-1828-Exhibitions. 2. Metropolitan Museum ofArt (NewYork, N.Y)-Exhibitions. I. Ives, Colta Feller. II. Stein, Susan Alyson. III.Title. N7II3·G68A4 1995 760'.092--dc20 95-2 42 0 0 CIP Contents Foreword by Philippe de Montebello 7 Preface and Acknowledgments 8 GOYA IN THE METROPOLITAN: The Artist and His Tf'orks by Colta Ives 11 GOYA IN THE METROPOLITAN: A History of the Collection by Susan Alyson Stein 34 Majas on a Balcony: Is the Museum 5 Painting by Coya? 64 Checklist of the Museum 5 Paintings) Drawings) and Prints by Coya 67 Museum Exhibitions and Publications of Coya 5 VVorks 77 Selected Bibliography 80 Sponsor's Statement Goya Foods is proud to sponsor the exhibition of Our participation with the Metropolitan the work of Francisco de Goya in The Metropolitan Museum is, in a sense, a coming together offine art Museum ofArt. and the culinary arts-both of our institutions share As our company celebrates its 60th Anniversary an appreciation for quality and beauty. in 1996, we are as committed as ever to supporting Just as we have provided nearly one thousand community events that reinforce our rich Hispanic fine food products to America's dinner tables since heritage, and take great pride in the knowledge that 1936, we are glad to make possible the Goya exhibi­ this stunning exhibition will be seen by thousands of tion as a visual feast to be savored and celebrated. visitors. jBuen provecho! We are equally delighted that by supporting the works ofone of the world's greatest artists, we are Joseph A. Unanue also paying homage to the homeland of my parents, President and CEO Carolina and Prudencio, the founders of Goya Foods. QOYAFOODS 6 Foreword "Goya in The Metropolitan Museum ofArt" reintro­ been significantly enlarged in number and revised by duces Francisco de Goya y Lucientes to our visitors scholarship. Many will no doubt be surprised at the through the Metropolitan's own collection, which richness of the Metropolitan's holdings, at the insti­ includes a fine group of paintings and a high num­ tution's long-standing interest in the artist's works, ber of outstanding drawings and prints. Our intent is and at the current controversies surrounding the to show the breadth of Goya's creative genius and at authenticity oflong-accepted paintings. the same time to reveal the strength and depth of This exhibition and catalogue of Goya's work the Museum's collection. illustrate the practice of connoisseurship at the This exhibition is one in a series of efforts to Metropolitan, and in them the visitor and reader will explore particularly rich veins of material in the find an approach that stresses issues of discernment Museum in which the work of one outstanding and quality and puts a premium on the direct exam­ artist can be examined across a broad range of media ination of the works of art. A high point of the exhi­ including painting, drawing, printmaking, sometimes bition is the unique opportunity offered us by the sculpture, and even photography. Such past projects generosity of an anonymous collector to compare his have featured the achievements of Greuze, Ingres, Majas on a Balcony, an unquestioned masterpiece by Delacroix, Degas, and Eakins; in the future, exhibi­ Goya, with the Metropolitan's version from the tions will be devoted to our varied holdings of work Havemeyer collection, a famous picture about whose by Rembrandt, Giandomenico Tiepolo, Winslow authorship questions have recently been raised. Homer, and Toulouse-Lautrec. The exhibition is made possible by financial sup­ As it stands today, the Metropolitan's exceptional port from Goya Foods, and we greatly appreciate collection ofworks by Goya is very much an aggre­ their backing for this endeavor. gate of the tastes, judgments, and prerogatives of Finally, I am grateful to Colta Ives and Susan many individuals. It was almost fully formed as early Stein for their valuable contributions to this exhibi­ as 1936, when the Museum held its first Goya exhi­ tion and catalogue, which place our collection in bition assembled mostly from its own holdings. the context of Goya's career and of the Museum's While since then four drawings, including two self­ history. portraits, and some working proofs ofprints have been added, it is in the paintings representation, as Philippe de Montebello noted in Susan Stein's essay, that the collection has Director 7 Preface and Acknowledgments This publication is intended to serve as an introduction seen as the natural outgrowth of inquiries raised dur­ to the Metropolitan Museum's extensive holdings of ing preparations for the relatively recent exhibitions paintings, drawings, and prints by Francisco de Goya y "Goya and the Spirit ofEnlightenment" (1989) and Lucientes (1746-1828), which will be placed on view "Splendid Legacy: The Havemeyer Collection" (1993). in their entirety for the first time this fall. Although Aside from the pleasure and general appreciation the collection includes some of the Museum's best­ gained in viewing many works by a single great known and beloved paintings-from the "little boy artist, such efforts allow a close examination of our in red" to the now-contested Majas on a Balcony-its holdings in light of new research. The degree of real strength lies in its relatively hidden assets, the advancement in our knowledge and understanding of fragile works on paper that present the full sweep of an artist's oeuvre necessarily varies, and development the artist's prolific and many-sided genius. Indeed, in some cases may yet be in nascent stages. This is true the Museum's fine drawings and prints by Goya per­ with Goya, a towering but enigmatic figure, whose mit us to document the range and power of his pro­ most important paintings remain, largely, in Spain. duction in the chronological format of the exhibition, Goya's reputation traveled far and wide on the and also in the survey of his career, which is the first wings of his published graphic works, which were of this publication's essays. The second essay presents multiple, portable, and easily acquired; this accounts a history of the Museum's activity as a collector of for their fame. On the other hand, the limited avail­ Goya's work and helps to explain the relative strengths ability of authentic paintings by Goya outside his and weaknesses ofour holdings ofpaintings, drawings, native land has made the collecting of his oils much and prints, each of these three distinct areas having more problematic and, as is pointed out in the pages been formed under different circumstances. that follow, fraught with controversy. As the collection has evolved, so too have notions of In recent years, Goya's art has come under rigor­ Goya's achievement. Insofar as this historical perspec­ ous scrutiny. Owing to research on all fronts-tech­ tive provides a framework for understanding current nical, historical, archival, and iconographical-new reappraisals of Goya's art, it also reveals the Museum's information has come to light that has challenged long-standing commitment to the artist, one that makes former assumptions and prompted reassessment. Even this exhibition appropriate among celebrations of the famous, long-accepted works, like the Museum's I25th anniversary of this institution's founding. Majas on a Balcony, have been cast into doubt, and The idea for the project was initiated earlier this opinions regarding the authenticity of other paintings year by Director Philippe de Montebello. It may be fluctuate, seemingly, from day to day. It is the aim of 8 our exhibition to throw open the doors to new Anne M. P. Norton, who contributed her insights insights and revisions as we survey a cross section of and extensive knowledge of Goya's paintings; and Goya's splendidly ingenious production. Margaret Aspinwall, Senior Editor, and other members The knowledge and expertise of scholars long of the office ofJohn P. O'Neill, Editor in Chief. devoted to the study of Goya have provided the Patrick Seymour is responsible for the handsome essential structure and content for the realization of design of the publication.
Load more

Recommended publications
  • Salvador Dalí. De La Inmortal Obra De Cervantes
    12 YEARS OF EXCELLENCE LA COLECCIÓN Salvador Dalí, Don Quijote, 2003. Salvador Dalí, Autobiografía de Ce- llini, 2004. Salvador Dalí, Los ensa- yos de Montaigne, 2005. Francis- co de Goya, Tauromaquia, 2006. Francisco de Goya, Caprichos, 2006. Eduardo Chillida, San Juan de la Cruz, 2007. Pablo Picasso, La Celestina, 2007. Rembrandt, La Biblia, 2008. Eduardo Chillida, So- bre lo que no sé, 2009. Francisco de Goya, Desastres de la guerra, 2009. Vincent van Gogh, Mon cher Théo, 2009. Antonio Saura, El Criti- cón, 2011. Salvador Dalí, Los can- tos de Maldoror, 2011. Miquel Bar- celó, Cahier de félins, 2012. Joan Miró, Homenaje a Gaudí, 2013. Joaquín Sorolla, El mar de Sorolla, 2014. Jaume Plensa, 58, 2015. Artika, 12 years of excellence Índice Artika, 12 years of excellence Index Una edición de: 1/ Salvador Dalí – Don Quijote (2003) An Artika edition: 1/ Salvador Dalí - Don Quijote (2003) Artika 2/ Salvador Dalí - Autobiografía de Cellini (2004) Avenida Diagonal, 662-664 2/ Salvador Dalí - Autobiografía de Cellini (2004) Avenida Diagonal, 662-664 3/ Salvador Dalí - Los ensayos de Montaigne (2005) 08034 Barcelona, Spain 3/ Salvador Dalí - Los ensayos de Montaigne (2005) 08034 Barcelona, España 4/ Francisco de Goya - Tauromaquia (2006) 4/ Francisco de Goya - Tauromaquia (2006) 5/ Francisco de Goya - Caprichos (2006) 5/ Francisco de Goya - Caprichos (2006) 6/ Eduardo Chillida - San Juan de la Cruz (2007) 6/ Eduardo Chillida - San Juan de la Cruz (2007) 7/ Pablo Picasso - La Celestina (2007) Summary 7/ Pablo Picasso - La Celestina (2007) Sumario 8/ Rembrandt - La Biblia (2008) A walk through twelve years in excellence in exclusive art book 8/ Rembrandt - La Biblia (2008) Un recorrido por doce años de excelencia en la edición de 9/ Eduardo Chillida - Sobre lo que no sé (2009) publishing, with unique and limited editions.
    [Show full text]
  • 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]
  • Aquelarre O Asmodea
    Aquelarre o Asmodea Pagina 1 de 6 - P00756 Número de catálogo: Duelo a garrotazos P00756 Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Título: Aquelarre o Asmodea P00759 Dos frailes Fecha: Goya y Lucientes, Francisco de 1820 - 1823 Pinturas de la Quinta del Sordo (Pinturas Negras) Técnica: P00760 Óleo La Romería de San Isidro Goya y Lucientes, Francisco de Soporte: Pinturas de la Quinta del Sordo (Pinturas Negras) Pintura mural trasladada a lienzo P00761 Medidas: El aquelarre, o El Gran Cabrón Alto: 127 cm.; Ancho: 263 cm. Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Procedencia: Quinta del Sordo, Madrid, donada por Goya antes de partir para P00762 Burdeos en 1823 a su nieto Mariano. Vendida por éste a Javier Dos viejos comiendo Goya, en 1833, aunque retornó a la propiedad de Mariano en Goya y Lucientes, Francisco de 1854. En 1859, la posesión fue vendida a Segundo Colmenares. Pinturas de la Quinta del Sordo (Pinturas Negras) En 1863 adquirida por Louis Rodolphe Coumont. Comprada en 1873 por el barón Frédéric Emile d´Erlanger, que encargó el P00763 inmediato traslado de las pinturas murales a lienzo. En 1878, en Saturno devorando a un hijo la Exposición Universal de París, para su posible venta. En 1881 Goya y Lucientes, Francisco de d'Erlanger las cedió al Estado español, que las destinó al Museo Pinturas de la Quinta del Sordo (Pinturas Negras) del Prado, donde se expusieron desde 1889 P00764 Forma ingreso: Judit y Holofernes Adscripción-Donación Goya y Lucientes,
    [Show full text]
  • Goya Dvd Propuesta Unidad Didáctica
    UNIT 3. SPAIN IN THE XIX CENTURY 1. The end of the Old Regime 1.1 Carlos IV and the War of Independence 1.2 Galicia during the War of Independence 2. Fernando VII 2.1. Politics 2.2. The Independence of the American colonies 3. Isabel II 4. The Revolutionary Sexennium 5. The Restoration 1 SPAIN IN THE 19th CENTURY (SEEN THROUGH ART) Art can be a great way to understand our history. Every period of our History has been reflected by painters, sculptors, photographers or film- makers. Let´s have a look at Spain in the 19th century with the help of our friends (the artists) TASK 1. BRAINSTORM Let´s check what you remember from unit 1. We can say that the transition from the Old Regime to Liberalism happens in Spain during the 19th century. Try to relate these features with either the Old Regime or the Liberalism Absolute Monarchy Parliament Constitution Equality (same rights for everybody) Different rights and duties for every state No middle classes Sovereignty resides in the nation TASK 2 In pairs, try to arrange this biography of Goya. GOYA´S BIOGRAPHY….TEXT IN PARTS The French occupation in 1808 inspires him two major works (The 2nd of May and The 3rd of May) and the series of engravings “The Disasters Of War” He started painting cartoons for the Royal Tapestry Factory (in Madrid) during the reign of Charles IV. They were scenes about the customs of the Spanish people like The parasol, The snow or La gallina ciega After a serious illness, Goya became deaf.
    [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]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • Old Master Paintings Master Old
    Wednesday 29 April 2015 Wednesday Knightsbridge, London OLD MASTER PAINTINGS OLD MASTER PAINTINGS | Knightsbridge, London | Wednesday 29 April 2015 22274 OLD MASTER PAINTINGS Wednesday 29 April 2015 at 13.00 Knightsbridge, London BONHAMS BIDS ENQUIRIES PRESS ENQUIRIES Montpelier Street +44 (0) 20 7447 7447 [email protected] [email protected] Knightsbridge +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8307 London SW7 1HH To bid via the internet please visit CUSTOMER SERVICES www.bonhams.com www.bonhams.com SPECIALISTS Monday to Friday 08.30 – 18.00 Andrew McKenzie +44 (0) 20 7447 7447 VIEWING TELEPHONE BIDDING +44 (0) 20 7468 8261 Sunday 26 April Bidding by telephone will only [email protected] Please see back of catalogue 11.00 – 15.00 be accepted on lots with a low for important notice to bidders Monday 27 April estimate in excess of £500. Caroline Oliphant 09.00 – 16.30 +44 (0) 20 7468 8271 ILLUSTRATIONS Tuesday 28 April Please note that bids should be [email protected] Front cover: Lot 84 (detail) 09.00 – 16.30 submitted no later than 4pm on Back cover: Lot 1 Wednesday 29 April the day prior to the sale. New Lisa Greaves 09.00 – 11.00 bidders must also provide proof +44 (0) 20 7468 8325 IMPORTANT INFORMATION of identity when submitting bids. [email protected] The United States Government SALE NUMBER Failure to do this may result in has banned the import of ivory 22274 your bid not being processed. Archie Parker into the USA. Lots containing +44 (0) 20 7468 5877 ivory are indicated by the symbol CATALOGUE LIVE ONLINE BIDDING IS [email protected] Ф printed beside the lot number £18 AVAILABLE FOR THIS SALE in this catalogue.
    [Show full text]
  • Francisco Goya, the American Revolution, and the Fight Against the Synarchist Beast-Man by Karel Vereycken
    Click here for Full Issue of Fidelio Volume 13, Number 4, Winter 2004 Francisco Goya, the American Revolution, And the Fight Against The Synarchist Beast-Man by Karel Vereycken s in the case of Rabelais, entering the ly to reassert itself in the aftermath of the British- visual language of Francisco Goya takes orchestrated French Revolution (1789). Aan effort, something that has become Despite this political reversal, Goya continued increasingly difficult for the average Baby in his role as Court Painter to Carlos III’s succes- Boomer. By indicating some of the essential events sors. He was appointed by Carlos IV in 1789, and of Goya’s period and life, I will try to provide you then later, after the Napoleonic invasion of Spain with some of the keys that will enable you to draw in 1808 and the restoration of the Spanish Monar- the geometry of his soul, and to harmonize the chy in 1814, his appointment was reinstated by rhythm of your heart with his. King Ferdinand VII. Francisco Goya y Lucientes was born in 1746, Fighting against despotism while simultaneous- and was 13 years old when Carlos III became ly holding a sensitive post as Painter in the service King of Spain in 1759. Carlos, who was dedicated of the latter two kings—and, what’s more, stricken to the transformation of Spain out of Hapsburg with total deafness at the age of 472—Goya, like all backwardness through Colbertian policies of eco- resistance fighters, was well acquainted with the nomic and scientific development, supported the world of secrecy and deception.
    [Show full text]
  • Francisco Goya
    Francisco Goya Biography Returning to Spain in 1772, Goya would become Aragonʼs most famous painter as a result of several fresco projects. He worked in the Cathedral of our Lady of El Pilar in Zaragosa, in a chapel in the palace of the Count of Sobradiel, and completed a series of large frescos for the charterhouse of Aula Dei, near Zaragosa. By 1774, Goya had one of the best artistic jobs in Spain, with steady work, good pay, and a direct connection to the royal court in Madrid. He was hired by his brother-in-law, Francisco Bayeu, to produce tapestries for the royal palaces. Goyaʼs job was to create paintings (called cartoons) which the weavers could copy in silk and wool. His tapestry cartoons were highly praised for their candid views of every day Spanish life, and he painted more than 60 in 16 years. During this time Goya created etchings of some of the works by Velázquez found in the kingʼs art Francisco José de Goya y Lucientes was an collection. As he copied Velázquezʼs works, he innovative Spanish painter and etcher, and one of was influenced by the way Velázquez composed the triumvirate—including El Greco and Diego his pictures, and by his way of capturing the Velázquez—of great Spanish masters. He was emotions and personality of his subjects. Goya born in the small Aragonese town of Fuendetodos began to attract a steady clientele with his talent (near Saragossa) on March 30, 1746. His father as a draftsman, printmaker and painter. was a painter and a gilder of altarpieces, and his mother was descended from a family of minor Goyaʼs career steadily advanced during this time.
    [Show full text]
  • L1013 Wolf, Goya's Red Boy, 144-173, FINALFINAL
    REVA WOLF Goya’s “Red Boy” The Making of a Celebrity R W Reva Wolf came to study with Jonathan Brown when, as a student in his seminar on Francisco Goya, she discovered the topic of her Ph.D. dissertation. Brown served as co-advisor with Robert Rosenblum for the dissertation, entitled “Francisco Goya and the Interest in British Art and Aesthetics in Late Eighteenth-Century Spain”, which Wolf defended in . Growing directly out of this Ph.D. work was Wolf’s book and exhibition, Goya and the Satirical Print (). She also wrote one of her two Master’s degree qualifying papers, The Hall of Battles at El Escorial, under Brown’s guidance. Her first professional writing assignment, the essay “Onlooker, Witness and Judge in Goya’s Disasters of War,” for the catalogue of the exhibition Fatal Consequences: Callot, Goya, and the Horrors of War (), was due to Brown’s recommendation. Wolf has n , Harry B. Wehle, a curator at the Metropolitan Museum of Art in New contributed several catalogue entries to the forthcoming publication IYork, proclaimed that Francisco Goya’s portrait of Don Manuel Osorio de accompanying an exhibition of Spanish drawings at The Frick Collection for Zúñiga (fig. ) “is so popular among American art lovers as to require no com- which Brown is co-curator ( ). ment.” Indeed, Goya’s painting of the strikingly delicate young boy had enjoyed Wolf holds the position of Professor of Art History at the State University of an enthusiastic audience since shortly after its arrival in the United States nearly New York at New Paltz.
    [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]
  • Asociación Aragonesa De Críticos De Arte
    Asociación Aragonesa de Críticos de Arte http://www.aacadigital.com/contenido.php?idarticulo=789 Revista Número 22 | Estudios de Arte | Investigación | El ostracismo de Goya en El Coloso. El ostracismo de Goya en El Coloso. (Imagen de portada: Francisco de Goya, El Coloso, 1808-12. Museo Nacional del Prado, Madrid) Resumen: El Coloso es una de las obras más importantes del Patrimonio Cultural de España. El presente trabajo analiza las cuestiones relacionadas con la técnica y el procedimiento pictórico de este cuadro al óleo para esclarecer –en términos científicos– algunas de sus propiedades específicas, hasta ahora desconocidas, que acreditan la autoría de Francisco de Goya. Abstract: The Colossus is one of the most important works of Spain’s Cultural Heritage. The present essay studies this oil painting analyzing its technique and method in order to make clear –in scientific terms– some of its specific properties, hitherto unknown, proving Francisco de Goya's authorship. Palabras clave castellano: Goya, El Coloso, técnica y procedimiento. Palabras clave inglés: Goya, The Colossus, technique and method. A mi entrañable amigo y profesor Nigel Glendinning*. El óleo que solemos llamar El Coloso, en referencia al comentario realizado por Aureliano Beruete en 1917, es una obra relevante del Patrimonio Cultural de España que encarna con elocuencia el periodo de nuestra historia que dará lugar a nuestra época contemporánea. Sin embargo las propiedades técnicas y conceptuales de El Coloso han sido objeto de un reciente estudio por parte del Museo del Prado para argumentar su descatalogación como obra de Francisco de Goya. En el informe publicado por la Dra.
    [Show full text]