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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 © Cambridge University Press www.cambridge.org Cambridge University Press 0521821053 - Goya’s Caprichos: Aesthetics, Perception, and the Body Andrew Schulz Index More information 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 Sal´on 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 © Cambridge University Press www.cambridge.org Cambridge University Press 0521821053 - Goya’s Caprichos: Aesthetics, Perception, and the Body Andrew Schulz Index More information 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 Laoco¨on, 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 Sal´on 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 © Cambridge University Press www.cambridge.org Cambridge University Press 0521821053 - Goya’s Caprichos: Aesthetics, Perception, and the Body Andrew Schulz Index More information 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 visi´on 77, 78, 96, 168, 227 Feijoo, 60 and Spanish court, 78, 80–81, 98, 110, 166, Ferdinand VII, 167.
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