Royal Academy of Painting

Cambridge University Press 0521821053 - Goya’s Caprichos: Aesthetics, Perception, and the Body Andrew Schulz Index More information

INDEX

Italicized numbers refer to dates or to pages on which ﬁgures appear.

Academy. See R.A.B.A.S.F.; Royal Academy of Architectonic style, 37 Painting and Sculpture, Paris; Aristotle, 44, 124, 125, 126 Royal Academy of San Carlos, Arnal, Pedro de, 112 Valencia; and Royal Academy, Arteaga, Esteban de, 4, 30, 44, 221 Spanish Ascargorta, Manuel, 109 Acuna,˜ Cosme de, 166 Azaola, Gregorio Gonzalez,´ 113–115, 118, 135 Adan,´ Juan, 48, 49 Azara, Jose´ Nicolas´ de, 23, 30, 89 Adornistas, 178. See also Gomez´ ; Japelli; Mata Duque; and Perez´ Bacon, Sir Francis, 124, 137 Advertisements for Goya’s prints, 81, 91, 98–99 Bakhtin, Mikhail, 15, 179–184, 186, 188, 195 See also Diario de Madrid advertisement Barcelon,´ Juan, 88 Aesthetics, 10, 11, 13, 128. See also entries throughout Bareau, Juliet Wilson, 10 index Baretti, Joseph, 21 Alba, dukes of, 45, 112 Barsanti, Nicolas,´ 88 Alba, duchess of, 56, 218 Batoni, Pompeo, 194, 205 Alberti, Leon Battista, 24–25, 39 Baudelaire, Charles, 4, 195, 196–197, 198 Alcala´ Flecha, Roberto, 112 Bayeu, Francisco, 22–23, 37, 48, 78–81, 89, 94, Alegre, Manuel, 84 95–96, 168, 227 work: Portrait of Jusepe de Ribera, 84, 85 work: The Virgin, Saint Joseph, and the Child, 94 d’Alembert, Jean le Rond, 124, 126 Bayeu, Josefa, 22, 95 Almodovar, duke of, 37, 126 Bayeu, Ramon,´ 37, 94–95, 166, 168, 215, 216 Ametller, Blas, 86 work: St. John the Baptist, 93, 94 Anatomy. See R.A.B.A.S.F. Beauty, ideal. See imitation, selective Andioc, Ren´ e,´ 118 Bedat,´ Claude, 23, 42 Andres,´ Juan, 126 Bella, Stefano della, 101 Aparacio, Jose,´ 51 Bergamesco, il, 160, 162 Aquiles, Guilio de, 160 Blindness. See perception; and senses and sense Arali, Joaqu´ın, 48 organs Aranjuez Body Royal Palace of, 29. See also royal palaces, Enlightenment attitudes toward beauty of Spanish “man,” 22–24 Casa del Labrador, 166–167 deformation of, in Los Caprichos, 12, 14, 17, 20, San Pascual, 95 59, 71–72, 154–156, 181

245

INDEX

Body (cont.) references by Goya to, 54, 55, 70, 100, 101, 102, expressive character of. See expression 103, 108 figure studies of (academies), 47, 48, 55, 174, 205 and Tiepolo, 95 in French art, 202–203 Captions of Los Caprichos, 9, 190–192 human and animal, 142, 176, 181 Carderera, Valent´ın, 4, 56, 63, 103, 110, 193–194 inversions of, 144–154, 181 Caricature, 66–71 and Neoclassicism, 14 in captions of Album B drawings, 17–20, 59 See also caricature; grotesque; imitation, in eighteenth-century Britain, 18–19 selective; naturalism; in eighteenth-century France, 20 physiognomy; and R.A.B.A.S.F. and “eternal comic,” 196, 199 Bonaparte, Joseph, 116–117 Goya’s art of the 1790s and, 12, 14, 18–20, Bonnet, Charles, 137 70–71, 110 Bosarte, Isidro, 50 in Italy, 19 Bosch, Hieronymus, 75–76, 140, 143, 160, 176–177, and physiognomy, 14, 66, 71, 106 180, 185, 190 See also Baudelaire; fantasy; Fielding; Hogarth; Boulanger, Louis, 194 and satire Bourbon royal family Carletti, Giovanni, 164 in France, 166 Carmen Saiz, Mar´ıa del, 28 in Spain, 164, 168 Carnicero, Antonio, 84 See also Charles III; Charles IV; Ferdinand VII; Carnicero, Isidro, 49 Gabriel, Infante Don; and Carnival. See grotesque Philip V Carracci, Anibale, 66, 139 Boydell, John, 203 Carrete Parrondo, Juan, 10 Bozal, Valeriano, 10 Castello, Fabrizio. See Granello Bruegel, Pieter, the Elder, 140–141, 143, 180, 185 Castillo, Jose´ del, 37, 215 Brutesco, 158, 160, 174. See also grotesque prints after his own designs, 94 Buffon, count of, 127, 144, 224 prints for sale by royal chalcography, 93 Bunbury, Henry, 116 and Retratros de Espanoles˜ Ilustres, 84 Burke, Edmund, 190 and the royal tapestry factory, 168 sketches after Giordano for reproductive prints, 88, 89 Cabrera, Ramon,´ 45 work: Cadalso, Jose´ de, 6, 112 decorations for Salón Pompeyano at the Cadiz,´ Santa Cueva, 78 Escorial, 164, 165, 174 Callot, Jacques, 101, 185, 195, 196 Castro, Felipe de, 24, 49 Camaron,´ Jose,´ 84, 166, 213 Catholic church, 125. See also Inquisition Cameron, Charles, 164 Cayetano Soler, Miguel, 168–170 Camper, Peter, 49, 72 Cean´ Bermudez,´ Juan Agust´ın, 86 Campos, Ramon,´ 127 on Bayeu, Francisco, 94 Cano, Benito, 83 on caricature, 67–68 Capricho on Goya’s art and Bosch, 76 Los Caprichos, 112–113 and caricature, 70 drawing after Velazquez,´ Las Meninas, 93 in Diario de Madrid advertisement for Los Saints Justa and Rufina, 28, 206 Caprichos, 100 on Granello, Niccolo,` 160, 162, 178 eighteenth-century definitions of, 55, 100 on grotesque, 163–164, 228 and grotesque, 158, 162, 164, 174 and capricho 174 in Horace, 178 and Mengs, 28, 48 as name of country house of duke and duchess and Neoclassicism, 113 of Osuna, 109 on printmaking and the R.A.B.A.S.F., 86

246

INDEX

on Ribera, 45, 48 Dal´ı, Salvador, 225 on Tiepolo, Giambattista, 95, 101 David, Jacques-Louis, 45 as translator of Milizia, 24 work: Andromache Mourning Hector, 51 Chapman, Jake and Dinos, 199, 225 Delacroix, Eugene,` 194, 201 Charles III work: Faust dans l’air, 194, 195 and excavations at Pompeii and Herculaneum, Descartes, Ren´ e,´ 126 164 Diario de Madrid advertisement for Los Caprichos, 1, 2, in Goya’s Count of Floridablanca, 128, 130 8, 14, 78, 81, 98–105, 108, 156, 178 and Mengs, 22, 29, 36, 37 generalizing tone of, 114, 118 as patron of tapestries, 168 and Horace, 178 and printmaking, 82 originality discussed in, 178 See also Bourbon royal family and Romanticism, 105 Charles IV echoed by Redon, 198 classical taste at court of, 166–167, 168–170 and satire, 156 marries Maria Luisa of Parma, 136 and selective imitation, 175 names Goya first court painter, 78 See also advertisements for Goya’s prints as patron of Casita del Pr´ıncipe, Escorial, 165 Diderot, Denis, 124 as patron of tapestries, 39 Domus Aurea, 158, 162, 164, 172 as possible target in Los Caprichos, 4 Dreams and dreaming, 105, 188–190, 196, 198. See See also Bourbon royal family also grotesque Charles V (also known as Charles I), 160 Dupuis, Nicolas-Gabriel, 86 Classical sculpture, 36, 49, 55, 104 Durer,¨ Albrecht, 94 Goya and, 49–50 Laocoön, 49, 55 Education, 136–137. See also Condillac; Godoy; plaster casts of, 24, 50 Jovellanos; Locke; R.A.B.A.S.F.; See also R.A.B.A.S.F.; Goya, works, Italian and themes of Los Caprichos notebook Engraving. See printmaking Clavijo, Count of, 50 Enlightenment, 15, 22, 60, 125, 128–130, 142 Coderch, Anna Maria, 11 educational reform and. See education Commentaries, manuscript, on Los Caprichos, 8, 9, epistemology, 122, 178, 186. See also 15, 108, 118–119, 122, 131, 150, 156, sensationalism 192 Goya’s art and, 4–10, 12, 15, 103, 105, 112, 179, 182 Ayala commentary, 118, 143, 151, 192 printmaking and, 83, 130 Biblioteca Nacional commentary, 120, 131–132, See also Floridablanca 151, 224 Epistemology. See Enlightenment; and Prado commentary, 118, 131, 132, 134, 140, 151, sensationalism 182–183, 185, 192 Ensor, James, 198 Company for the engraving of paintings in the work: Demons Taunting Me, 231 royal palaces, 88–89 Escorial, Royal Monastery of San Lorenzo of the Condillac, Etienne Bonnot, Abbede´ Casita de Pr´ıncipe (or de Abajo), 165–166 on education, 136 Casita del Infante (or de Arriba), 165–166 and Goya, Caprichos 8, Los Chinchillas, 130–131 Goya’s tapestry cartoons for, 164 and hierarchy of the senses, 141, 224 grotesque decoration in, 160–163, 166, 170, 174 knowledge of, in Spain, 126–127, 221 Ponz calls for reproduction of works in, 88, and sensationalism, 44, 124–125 215 Cortes,´ Geronimo,´ 60 Salón Pompeyano in, 164, 165, 174. See also Castillo Courbet, Gustave, 197 works by Bosch in, 75, 76 Cruz y Cano y Olmedilla, Juan, 214 See also Royal palaces, Spanish Cruzado, Alfonso, 214 Esteve, Agust´ın, 84 Cunego, Domenico, 27 Eximeno, Antonio, 137, 221

247

INDEX

Expression, 14, 21, 24–28, 61 in Napoleon y Godoy, 117 Goya’s art and, 28–58 passim as owner of Los Caprichos, 111–112 and physiognomy, 59, 60–61 as patron of Goya, 111 as possible target in Los Caprichos, 4, 118 Fantastic, the (literary mode), 186–188, 196. See also Goethe, Johann Wolfgang von, 127 dreams and dreaming; Jackson; Gomez,´ Vincente, 166, 168, 178 and Todorov work: ceiling of entry hall, Casita del Principe, Fantastic satire. See satire Escorial, 166, 167 Fantasy Gomez´ de la Navia, Jose,´ 86 and caricature, 69–71 Gonzalez´ Velazquez,´ Antonio, 166 in Diario de Madrid advertisement for Los Gonzalez´ Velazquez,´ Isidro, 166 Caprichos, 103, 185–186 Gonzalez´ Velazquez,´ Zacar´ıas, 50, 166, 167, 213 in Goya’s art of the 1790s, 58, 109, 186 Gothic novel, 181, 196 and observation, 11–12, 14, 56, 105–106, 108 Goya, Francisco and satire, 102, 104–105, 108, 114, 136, 178 1812 inventory of possessions of, 95 and uncommissioned art, 55 1792–93 illness and deafness of, 19, 20, 54, 58, See also capricho; invention; satire; and visión 77, 78, 96, 168, 227 Feijoo, 60 and Spanish court, 78, 80–81, 98, 110, 166, Ferdinand VII, 167. See also Bourbon royal family 168–170. See also Royal Tapestry Ferrer, Joaqu´ın, 109 Factory of Santa Barbara´ Ferro, Gregorio, 20 travels in Italy by, 19 Fielding, Henry, 66–67 and uncommissioned works, 55–56, 77–81, 168 Florence works: Palazzo Vecchio, 159 paintings Uffizi, 159 religious paintings, 28, 31, 36, 56, 57, 78 Floridablanca, Count of, 50, 84, 88, 89 Crucifixion, 28–36, 31 See also Goya, works, portraits, Count of Death of Saint Joseph, 37–39, 38, 49 Floridablanca Miracle of Saint Anthony of Padua, 78, 168, Follage, 158. See also grotesque 210 Fontaine, Pierre. See Percier Saint Bernardine of Siena Preaching before Foranda, Valent´ın de, 127 Alfonso of Aragón, 34, 36–37 Saint Francis Borgia at the Deathbed of an Gabriel, Infante Don, 165. See also Bourbon royal Impenitent, 40–43, 41 , 48, 55, 58, family 71, 109, 176 Gassier, Pierre, and Juliet Wilson, 8 Saint Francis Borgia Taking Leave of his Gautier, Theophile,´ 195–196 Family, 207 Gay, Peter, 124 Saints Justa and Rufina, 28, 29, 51–52 Ghezzi, Pierleone, 66 Saints Justa and Rufina, oil sketch for, 28 Ghirlandaio, Domenico, 158 Taking of Christ, 78, 79 Giaquinto, Corrado, 22 history paintings Gillray, James, 116, 141, 196 Hannibal the Conqueror, Viewing Italy from Gines,´ Jose,´ 210 the Alps for the First Time, 173 Giordano, Luca, 88, 89, 115 portraits, 8, 56, 61–63, 78, 97, 137, 170 Girodet, Anne-Louis, 167 Count of Floridablanca, 128–130, 129 Glendinning, Nigel, 10, 199–200 Duchess of Osuna, 62, 63, 109 Godoy, Manuel, 117 Family of Charles IV, 170 on Los Caprichos, 84–85, 94 Francisco de Saavedra, 8 on company for the engraving of paintings in Gaspar Melchor de Jovellanos, 6, 8, 78, 97 the royal palaces, 89 Juan Antonio Meléndez Valdés, 8 interest in educational reform, 137 Leandro Fernandez´ de Morat´ın, 8

248

INDEX

tapestry cartoons, 28, 39, 56, 57, 58 Sueno˜ , De la mentira y ynconstancia, Blind Guitarist, 94, 219 218 Blind Man’s Bluff, 219 Sueno,˜ Este es un hombre q.e p.r q.e le Summer, 39–40, 39, 61, 106, 168 digeron ..., 149–150 Wounded Mason, 207 Sueno,˜ La enfermedad de la razon, 155 other decorative paintings Sueno˜ (G-W 626), 154 witchcraft paintings for dukes of prints Osuna, 109 early prints “black” paintings, 80, 229 Blind Guitarrist, 94 cabinet paintings, 54, 55, 77–78, 100 Flight into Egypt, 94 Yard with Lunatics, 52–56, 53 58, 70, 71, Garroted Man, 94 77, 182 after Velazquez,´ 30, 62, 89–93, 98 genre paintings Un enano (Sebastian´ de Morra), 91 Clothed Maja, 110 San Francisco de Paula, 92, 94, 96 ivory miniatures, 207 San Isidro, 94 Naked Maja, 110 Los Caprichos drawings plate 1, Fran.co de Goya y Lucientes Pintor, Italian notebook, 49, 148 11, 13, 14, 105, 188 after Farnese Hercules, 49, 51 plate 2, El si pronuncian y la mano alargan Mascarón, 173–174, 173 Al primer que llega, 6, 7, 12, 112 after Torso Belvedere, 49 plate 3, Que biene el Coco, 62, 72–76, 135, individual drawings and studies 189 Academy, 24, 55 plate 5, Tal para qual, 105, 112, 118, 119, Choleric Temperament, 72 190, 191 De Todo, 138, 140 plate 6, Nadie se conoce, 182–184, 183 portraits for Cean´ Bermudez,´ plate 7, Ni asi la distingue, 105, 131–134, Diccionario histórico, 97, 98, 112 132, 144, 147 Luis de Vargas, 97 plate 7, working proof, 134 sheets of caricature heads (attributed plate 8, Que sela llevaron, 190, 191 to Goya in G-W), 211 plate 9, Tantalo, 117 Sketch for Capricho, 6, 229 plate 13, Estan calientes, 65, 142, 144, 148, studies for prints by professional 182 printmakers, 216 plate 14, Que sacrificio!, 71–72, 71, 105, albums of drawings, 56, 80 106, 197 Album A, 56–58, 96 plate 17, Bien tirade esta´, 56 A[j],56, 57 plate 21, Qual la descanonan!, 72, 73, 110 Album B, 17, 58–59, 61, 70, 73, 96, plate 23, Aquellos polbos, 148 110 sheet 19, 133 plate 24, Nohubo remedio, 110, 111, 181 sheet 58, 17, 19, 64, 66, 70, 72 plate 26, Ya tienen asiento, 113, 224 sheet 59, 145, 146, 148 plate 29, Esto si que es leer, 109, 120, 121 , sheet 63, 17, 65, 143, 144 134 Suenos˜ , 70, 72, 96, 102, 188 plate 30, Porque esconderlos?, 63–65, 64, Sueno˜ 1, 68, 69, 188 113 sketch for Sueno˜ 1, 69, 70, 105 plate 34, Las rinde el Sueno˜ , 189 Sueno˜ 6, 152–153, 153 plates 37–42 (“ass” sequence), 180 Sueno˜ 11, 147 plate 40, De que mal morira? 74 Sueno˜ 21, 133 plate 43, El sueno˜ de la razon produce Sueno˜ 25, 144 monstruos, 1, 3, 11, 70, 105, 117, Sueno˜ 27, 73, 74 154–155, 189

249

INDEX

Goya, Francisco (cont.) in the eighteenth century, 15, 157–158, 162–173, plate 48, Soplones, 150, 151 , 182 181–182 plate 49, Duendecitos, 114, 192, 193 etymology and origins of, 158, 160–162, 164, 185 plate 50, Los Chinchillas, 121–122, 123, and graphic art, 185 130–131, 141–143, 153, 155–156, 182 and “grotesque realism,” 180 plate 51, Se repulen, 107–108, 107 and imitation, 171–172 plate 52, Lo que puede un Sastre!, 116, 134, and laughter, 184 135, 147 and madness, 182 plate 53, Que pico de Oro, 139, 140 and Mannerism, 158–162, 178 plate 54, El Vergonzoso, 148–149, 149 182 and masks, 182–183 plate 55, Hasta la muerte, 105–106, 106, and Neoclassicism, 14, 163, 176, 180 107, 109, 113 and oxymoron, 189 plate 56, Subir y bajar, 112 reproductive prints of, 163–164, 178 plate 57, La ﬁliacion, 145, 147, 148, 182, and Romanticism, 181–184 183 and selective imitation, 172, 175–176, 178 plate 59, Y aun no se van!, 114 subversive character of, 180, 181 plate 63, Miren que grabes!, 176, 177, 191 and Surrealism, 184 plate 64, Buen Viage, 175, 185 and viewer, 184, 185 plate 65, Donde va mama?, 174–176, 187 See also Bakhtin; body; brutesco; follage; grutesco; plate 66, Allav´ a´ eso, 194 Kayser; satire; and literature plate 69, Sopla, 150–151, 152, 182 Grutesco, 158, 160, 174. See also grotesque plate 72, No te escaparas´ , 114, 117 Guercino, 94 plate 75, No hay nadie nos desate? 74–76, Guevarra, Felipe de, 172 75 plate 78, Despacha, que dispiertan, 189 Harris, Tomas,´ 80 Los desastres de la guerra, 1–2, 4, 80 Helman, Edith, 5–8, 112 plate 28, Populacho, 229 Hennequin, Emile, 198 plate 39, Grande hazana!˜ Contra muertos!, 2, Herculaneum, 164 5 Hervas´ y Panduro, Lorenzo, 22, 127, 141, 144, 221, Los disparates, 80 224 La tauromaquia, 80, 91 History painting, 36 See also references to Goya throughout index Hoffmann, E.T.A., 187, 195, 196 Goya, Javier, 4, 58, 80–81 Hogarth, 19, 116, 141, 196 Granada. Apartments of Charles V in the work: Caricatures and Caricaturas, 65, 66–67 Alhambra, 160 Horace, 176–178, 179, 185 Granello, Niccolo,` and Fabrizio Castello, 160, 162, Hugo, Victor, 194 163, 174, 178 Huysmans, Karl-Joris, 197 work: ceiling of chapter hall, Escorial, 163 Gravelot and Cochin, 219 Ibarra, Joaqu´ın, 83 Greco, El, 78 Imagination. See fantasy Greek art, 23, 26, 170. See also classical sculpture Imitation, 103. See also naturalism Grotesque, 10, 15, 190 Imitation, selective, 14, 21, 25, 30, 37, 48, 49, 55, 104 and alienation, 182, 184–185 in Diario de Madrid advertisement for Los and body in Los Caprichos, 178, 180, 182, 196–197, Caprichos, 50, 104 228. See also body in Goya’s art, 40–42, 58 and capricho. See capricho, and grotesque and ugliness, 176–178 and Los Caprichos, 157, 174–179, 180–181, 186 See also grotesque and carnival, 15, 180, 182 Inquisition, 6, 109–111, 125 communal nature of, 180 Invention and dreams, 189 and classicism, 52

250

INDEX

in Diario de Madrid advertisement for Los eighteenth-century, and Goya’s art, 5–8, 9–10, Caprichos, 104 122, 156, 192 in Goya’s letter to Iriarte, 77 literary references in Diario de Madrid and grotesque, 179 advertisement for Los Caprichos, in printmaking, 94 101–102 and uncommissioned art, 55, 70 seventeenth-century Spanish, and grotesque, See also fantasy 180 Iriarte, Bernardo de, 50 Locke, John and education reform in the R.A.B.A.S.F., 48 and sensationalism, 14, 44, 124–125, 128 letters from Goya to, 54–55, 77–78, 100, 101 on education, 136–137 as owner of Mengs, Self-Portrait, 87 knowledge of, in Spain, 126 Iriarte, Tomas´ de, 177–178 Lopez,´ Tomas,´ 214 Isla, Padre (Jose´ Francisco de), 6 Lopez´ Engu´ıdanos, Jose,´ 48, 50 Ivins, William, 82 work: plate from Cartilla de principios de dibujo, 47, 48 Jackson, Rosemary, 15, 188, 189, 190, 195, 196 LopezRey,Jos´ e,´ 4–5, 59, 60 Japelli, Luis, 168 Lucas´ Velazquez,´ Eugenio, 230 Jesuits, 221 Luzan´ y Mart´ınez, Jose,´ 115 Jomtob, Nathaniel. See Puigblanch, Antonio Jovellanos, Gaspar Melchor de Madrazo, Jose,´ 51 as adviser to R.A.B.A.S.F., 42 Madrid on beauty of “man,” 22, 23 Casón del Buen Retiro, 88 and Los Caprichos, 5, 7, 105, 112, 122 Royal Palace of, 22, 26, 27, 36, 50, 95. See also and Condillac, 137 royal palaces, Spanish on education and sensationalism, 137 San Antonio de la Florida, 168, 170, 210 and Locke, 137 San Francisco el Grande, 36 oration at 1781 prize-giving ceremony of Maea, Jose,´ 84 R.A.S.A.S.F., 23, 215 Maella, Mariano Salvador, 37, 50, 94, 167, 168–170, See also Goya, works, portraits, Gaspar Melchor de 213, 227 Jovellanos Magritte, Rneé,´ 225 Maistre, Joseph de, 116 Majas, 56 Kayser, Wolfgang, 184–185, 186, 195 Manet, Edouard, 197 Klinger, Max, 197 Mannerism. See grotesque work: Into the Gutter, 198 Mantegna, Andrea, 94 Knudsen, Vibike Vibolt, 10 Mar´ıa Luisa of Parma (wife of Charles IV), 4, 39, 118, 136 Language and Los Caprichos, 107–108, 174, 190–193 Marmontel, Jean-François, 141 See also Captions of Los Caprichos; and literature Mart´ı Mora, Francisco de Paula, 25 Laughter, 113. See also grotesque Mart´ınez, Francisco, 26, 100, 174 Lavater, Johann Caspar, 59–60, 72 Mart´ınez, Sebastian,´ 19, 116 Le Brun, 25, 26, 27, 49, 72 Masks (also mascarón), 145–148, 174, 182–183. See Lefort, Paul, 115–116 also grotesque Leonardo da Vinci Mata Duque, Juan de, 168 and expression, 24–25, 26, 39, 61, 67 Matheron Laurent, 201, 229, 230 grotesque heads by, 19, 66 Maupertius, Pierre Louis Moreau de, 136 translated by Rejon´ de Silva, 26 Mayner, Alessandro, 160 Lippi, Filippo, 158 Melendez´ Valdes,´ Juan Antonio, 6, 7, 112, 122, 137 Literature See also Goya, works, portraits, Juan Antonio “autor” used as term for “artist,” 70, 88, 102 Meléndez Valdés

251

INDEX

Mengs, Anton Raphael, 27 and David’s Spanish pupils, 51–52 career and influence in Spain, 22–23, 26, 44, 50, and exemplum virtutis, 45 179 and expression, 26 on expression, 26–27 and Horace, 177 and Goya, 22–23, 28–37, 42, 207 and Los Caprichos, 12, 182 on grotesque decoration, 170–171, 172 and printmaking, 82 on human body, 23 and selective imitation, 104, 178 Milizia’s treatise on, 24 in Spain, 67–69, 115 and Neoplatonism, 52 See also grotesque; Mengs; and R.A.B.A.S.F. and Raphael, 36, 66 Newton, Sir Isaac, 124, 126, 127 and Ribera, 48 and Salvador Carmona, 86–87 Observation. See fantasy; and naturalism on selective imitation, 30, 37, 42 Ort´ız y Sanz, Jose,´ 50, 84, 172 and Tiepolo, 95 Osuna, duke and duchess of, 40, 62, 100, 108–109, and Velazquez,´ 30 114 works: See also Goya, works, portraits, Duchess of Osuna Adoration of the Shepherds, 35, 36 Oxymoron. See grotesque Annunciation, 37 Crucifixion, 29–30, 32 Pacheco, Francisco, 226 Descent from the Cross, 30, 32, 89 Palomino, Antonio, 4 drawings after Raphael, School of Athens, 27 on beauty of “man,” 23–24 Self-Portrait (print after). See Salvador on capricho, 100 Carmona, Manuel on expression, 60–61 See also Charles III; and R.A.B.A.S.F. on grotesque, 160, 162 Michelangelo Buonarroti, 194 on physiognomy, 60 Milizia, Francesco, 24, 67, 113 Practica´ de la pintura by,inGoya’sCount of Mirri, Luigi, 164 Floridablanca, 130 Monsters. See body, deformation of, in Los on Ribera, 45–47 Caprichos; and grotesque, and Palomino, Juan Bernabe,´ 86 body in Los Caprichos Pardo, Royal Palace of the, 39. See also royal Montfort, Manuel, 83–84, 87 palaces, Spanish Morat´ın, Leandro Fernandez´ de, 6, 105, 112, 122 Paret y Alcazar,´ Luis, 27, 48, 94 as possible author of Diario de Madrid Patronage. See Goya, and uncommissioned works advertisement, 99, 216 Perception, 11–12, 120–156 passim as possible author of Prado manuscript article in Encyclopédie on, 222 commentaries, 118 and epistemology, 186 trip to London by, 18, 116 lack of, 76 See also Goya, works, portraits, Leandro Fernandez´ uncertainty of, 187–188, 194–195 de Morat´ın See also Enlightenment; fantastic; fantasy; Morat´ın, Nicolas,´ 6 sensationalism; senses and sense Moreno, Jose,´ 84 organs; and themes of Los Caprichos Motte, Charles, 194 Percier, Charles, and Pierre Fontaine, 167 Munarriz,˜ Jose,´ 52 work: Gabinete del Platino, Casa del Labrador, Murillo, Bartolome´ Esteban, 47, 52, 215 Aranjuez, 169 Perez,´ Mariano, 168 Naturalism, in Goya’s art, 11, 36–37, 40–42, 43, 45, Perez´ Sanchez,´ Alfonso E., 9 52, 55–58, 69, 103, 210 Philip II, 75, 160 Napoleon y Goya (anonymous print), 117 Philip V, 160. See also Bourbon royal family Neoclassicism, 14, 21, 28, 54, 113 Physiognomy, 14, 59–66, 97 and classical sculpture, 49 animal, 72–76, 110

252

INDEX

See also body; caricature; expression; Lavater; officials of, 26, 54, 83, 128–130 Palomino; and Porta orations at prize-giving ceremonies of, 13, 21, Pinturicchio, 158 23, 52, 59, 143 Piranesi, Giambattista, 101 1772, 42, 44, 176–177 Pliny the Elder, 61 1781 , 23 Poe, Edgar Allan, 195 1787, 37 Pompeii, 164 1790, 82 Pompeiian style, 167 1796, 52 Ponz, Antonio, 50 1799, 45 on Bosch, 76 1802, 52 on capricho and grotesque, 174 1832, 4 on grotesque decoration in the Escorial, print collection, 21 162–163 and printmaking, 86–87 Mengs’s letter on royal collection to, 26, 48 proceedings of and Neoclassicism, 163 1790, 21 on original printmaking, 94 1799, 48 on reproductive printmaking, 88, 89, 101, 215 1832, 86 and R.A.B.A.S.F., 42 student competitions in, 49, 50 on tapestry cartoons, 168 Rabelais, François, 180 as translator of Guevara’s Comentario de la pintura, Raphael, 12, 162 172 and expression, 27–28 Porta, Giambattista della, 60, 72 and grotesque decoration, 158–159, 164, 166 Preciado de la Vega, Francisco, 26 and physiognomy, 66, 67 Prieto, Tomas´ Francisco, 72, 86 See also Mengs Printmaking, 14 Redon, Odilon 197–198 and Count of Floridablanca, 83, 84 work: The Sad Marsh Flower,fromHomage to Goya, original, in Spain, 94–95 197, 198 place of Los Caprichos in history of, 1 Rejon´ de Silva, Diego Antonio, 50 and print market, in Spain, 82–85 on caricature, 67 reproductive, 21, 24, 27, 87–89, 95 on expression, 26, 40 satiric, lack of, in Spain, 113 and Raphael, 27 See also company for the engraving of paintings on selective imitation, 49, 104 in the royal palaces; grotesque; as translator of Alberti and Leonardo, 24 R.A.B.A.S.F.; and satire Rembrandt van Rijn, 58, 113 Puigblanch, Antonio, 109–110 Retratos de Espanoles˜ Ilustres, 84 See also Alegre Quevedo, Franciso de, 70 Ribera, Jusepe de, 45–48, 94, 115 work: Martyrdom of St. Bartholomew, 45, 46 R.A.B.A.S.F. See also Alegre advisors to, 26, 42, 52, 172, 215 Ribera, Juan Antonio, 51 anatomy in curriculum of, 24, 48–49 Ripa, Cesare, 219 and classical sculpture, 49, 50–51, 52 Roca, Count de la, 50 and drawing schools, 130 Rococo, 171 educational debates within, 20, 27, 138–139 Romanticism and Goya’s art, 9–15, 16, 58, 108, Goya and, 12–14, 20, 28, 54, 77–78, 80, 94 193–197, 201. See also Baudelaire; 1792 report on education to, 50, 55, 138–139 Delacroix; Gautier; and influence of Mengs on, 37, 49, 52 grotesque influence of Raphael on, 27 Rome. Vatican loggie, 158–159, 163–164 library of, 21, 25, 27, 49, 59, 172 Rops, Feliciens, 198 and Neoclassicism, See Neoclassicism Rosa, Salvador, 94

253

INDEX

Rousseau, Jean-Jacques, 126, 137 and educational reform, 137 Rowlandson, Thomas, 141, 196 and the fantastic, 186 Royal Academy of Painting and Sculpture, Paris, in Goya’s 1792 report to the R.A.B.A.S.F., 50 25, 45 opponents of, 125 Royal Academy of San Carlos, Valencia, 24, 42 See also Condillac; Locke; perception; senses and Royal Academy, Spanish, 11, 55, 60, 67, 100–101, sense organs 170 Senses and sense organs in Los Caprichos, 14–15 Royal Asturian Institute, 22, 137 hearing and ears, 121–156 passim Royal chalcography, 80–81, 83–85, 88, 93, 100–101, hierarchy of, 15, 127–128, 141–154 109, 110 sight and eyes, 12, 15, 120–156 passim, 178, 188 Royal collection, Spanish, 21, 164, 190. See also See also visi´on Mengs, on royal collection taste and mouths, 140–156 passim, 15, 181 Royal palaces, Spanish, 51, 88, 168. See also Aranuez; touch, 224 Escorial; Madrid; and Pardo See also perception; sensationalism; and themes Royal press, 83 in Los Caprichos Royal Tapestry Factory of Santa Barbara,´ 22, 36, Sepulveda,´ Pedro Gonzalez´ de, 112 39, 94, 166–170 Seville Cathedral, 28 Signorelli, Luca, 158 Saavedra, Francisco de. See Goya, works, portraits, Siguneza,¨ Fray Jose´ de, 49, 75–76, 174 Francisco de Saavedra on grotesque decoration, 160–162, 163–164, 170 Sabatini, Francisco, 39 Silva, Pedro de, 42, 49, 88, 128, 176–177 Salas, Gregorio de, 37 on Goya’s Saint Francis Borgia at the Deathbed of an Salesa, Benaventura, 89 Impenitent, 42–44, 48, 128 Salvador Carmona, Antonio, 86 Sister arts, 101–102 Salvador Carmona, Luis, 86 Spectator. See viewer Salvador Carmona, Manuel Stoichita, Victor I., 11 on anatomy, 48 Stuyck y Vandergoten, Livinio, 168 and the R.A.B.A.S.F., 27, 86–87 Sulzer, Johann Georg, 24 and reproductive printmaking, 84, 88, 89, 92 Supernatural. See fantasy work: after Mengs, Self-Portrait, 87 Surrealists, 156, 185. See also Dal´ı; Magritte Sancha, Antonio, 83 Symbolists, 16, 197–198. See also Redon Sante Bartoli, Pietro de, 164 work: plate II, Picturae antiquae, 159 Teba, Count of, 52 Santiago, Elena, 10 Teniers, David, 190 Satire Terreros y Pando, Esteban, 11, 60, 100, 170, 174, in British prints, 115–116, 192 186 cultural speciﬁcity of, in Los Caprichos, 3 Themes of Los Caprichos, 5–6, 122 in Diario de Madrid advertisement, 101–102, 103 asses, 73–74 fantastic, 192 clergy, 109, 134 in Goya’s art of the 1790s, 11, 105–106, 108, 109, education, 135–136, 140 112, 113–114 Inquisition, 109 and the grotesque, 178 masquerade, 73, 188 open-ended nature of, in Los Caprichos, 192–193 nobility, 109, 122 veiled nature of, in Los Caprichos, 103, 114 perception, 12, 14–15, 76, 188. See also perception See also caricature; and fantasy prostitutes, 71, 131, 136 Sayre, Eleanor A., 8–9 relations between the sexes, 118 Selma, Fernando, 50, 86 vanitas, 184 Sensationalism, 14–15, 44–45, 52, 123 witchcraft, 72, 112, 136, 150–154, 174 and Los Caprichos, 187–188 Tibaldi, Pellegrino, 160

254

INDEX

Tiepolo, Domenico, 95, 96 and reader of Diario de Madrid advertisement, Tiepolo, Giambattista, 95–96, 101 101, 102, 104 works: in relation to depicted figures in Los Caprichos, frontispiece without lettering, Scherzi di 120, 134 fantasi, 95, 96 responses to open-ended character of Los plate from Raccolta di Teste, 96, 97 Caprichos, 118 Tiepolo, Lorenzo, 95 and sensationalism, 44–45 Todorov, Tzvetan, 15, 186–188, 195, types of viewers, 81–82 196 and uncommissioned work, 77 Toledo Cathedral, 78 See also commentaries; grotesque; and Silva Tomlinson, Janis A., 9 Villanueva, Joaqu´ın Lorenzo, 125 Torres y Villarroel, Diego de, 70 Villanueva, Juan de, 165–166 Villaverde, marquis of, 77–78 Udine, Giovanni da, 158–159, 160, 162 Visión, 11, 105, 186. See also fantasy; and senses and sense organs Valencia Cathedral, 40, 45 Visionary. See fantasy Valladolid, Convent of Santa Ana, 37–39 Vitruvius, 171–172, 179 Vargas Ponce, Jose´ de, 82–83 Volpato, Giovanni, 89, 164 Vasari, Giorgio, 159, 163, 178 works: Vega, Jesusa, 10, 92 frontispiece, Loggie de Rafaele nel Vaticano, 161 Ve l azquez,´ Diego, 30, 31, 58, 62, 89–93, 207 after Mengs, Descent from the Cross, 90 works: Crucifixion, 30, 33 Ximenez,´ Andres,´ 76 Las Meninas, 93 See also Goya, works, early prints, after Watelet, Claude-Henri, 26 Ve l azquez´ Winckelmann, Johann Joachim, 27, 171 Ve r´ı, Tomas´ de, 206 Wilson-Bareau, Juliet. See Bareau, Juliet Wilson; Viewer and Gassier, Pierre, and Juliet and Los Caprichos, 12, 14, 108, 185 Wilson Cean´ Bermudez´ on, 113 Wolf, Reva, 116 described as los inteligentes, 78–81, 100, 143, 178, 213 Zapater, Mart´ın, 37, 213 early reactions to Los Caprichos, 108–119 Zeglirscosac, Ferm´ın Eduardo, 25 foreigners interested in Los Caprichos, 81, 115 Zevallos, Fernando de, 125

255