Francisco Goya
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forty-five.com / papers /194 Herbert Marder Reviewed by Guy Tal Mortal Designs I Like the young goat that gives the Caprichos their name, these etchings, unpredictable as goats leaping from boulder to boulder among the hills, evoke the painter Francisco Goya who made them after a sudden illness. At the height of his fame, he falls into a coma, close to death. The doctors have no d i a g n o s i s . H e fi g h t s h i s w a y b a c k a n d c o m e s t o h i m s e l f ,forty- six years old, deaf, ridden by the weight of things. His etchings unveil a prophetic vision, a loneliness like no other, and when they become known years after Goya’s death—timeless. II Court painter to King Carlos IV, Goya is nursed back to health by a wealthy friend. Enemies at court spread rumors…expected not to survive. At least, he’ll never paint again, they say. He ridicules them as soon as he can pick up a brush, paints s m a l l c a n v a s e s , l i k e a j e w e l e r ’ s u n c u t s t o n e s , r e fl e c t i o n s of the nightmare he has lived through, and the inner world his passion unveils, a dark core in which the aboriginal being is close to extinction. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
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. -
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. -
Francisco De Goya
Francisco de Goya, pintor a caballo entre el clasicismo y el romanticismo que se enmarca en el periodo de la Ilustración del siglo XVIII, es una figura imprescindible de la historia del arte español. El artista vive en una constante dicotomía, puesto que trabaja para la corte y, al mismo tiempo, introduce la crítica social en su obra y se interesa por temas poco habituales, como el lado oscuro del ser humano. De esta manera, revoluciona el arte con obras maestras como La maja desnuda o La familia de Carlos IV. Su talento a la hora de plasmar a la perfección la personalidad de sus personajes en sus retratos y de captar un sentido de la luz preciso y delicado queda reflejado en sus pinturas al óleo, sus frescos, sus aguafuertes, sus litografías y sus dibujos. Esta guía estructurada y concisa te invita a descubrir todos los secretos de Francisco de Goya, desde su contexto, su biografía y las características de su obra hasta un análisis de sus trabajos principales, como la Adoración del nombre de Dios por los ángeles, El sueño de la razón produce monstruos o La maja desnuda, entre otros. Te ofrecemos las claves para: conocer la España de los siglos XVIII y XIX, que pierde importancia a nivel mundial y que se muestra reacia a toda idea liberal que provenga de fuera de sus fronteras; descubrir los detalles sobre la vida de Francisco de Goya, artista lleno de contradicciones que se convierte en una de las figuras clave de la historia del arte español; analizar una selección de sus obras clave, como La maja desnuda, la Adoración del nombre de Dios por los ángeles, El sueño de la razón produce monstruos o La familia de Carlos IV; etc. -
Un Pintor De Película: Francisco De Goya En El Cine
UN PINTOR DE PELÍCULA: FRANCISCO DE GOYA EN EL CINE EVA OTERO VÁZQUEZ Universidade de Santiago de Compostela Resumen: Quizá sea Francisco de Goya el pintor español más internacional de todos los tiempos. Su vida y su obra han influido en expresiones artísticas diversas y, dentro de ellas, el cine nos ofrece varios planteamientos frente a la figura del pintor, convirtiéndolo en protagonista o secundario en función del argumento de la película. A lo largo de estas páginas nos aproximaremos a su personalidad partiendo de aquellos aspectos biográficos que han tenido una mayor repercusión en el llamado Séptimo Arte y que, a modo de ejemplo, destacamos en dos producciones españolas de estreno prácticamente simultáneo: Volavérunt (Bigas Luna, 1999) y Goya en Burdeos (Carlos Saura, 1999). Palabras clave: Cine, pintura, biopic, Francisco de Goya. Abstract: Francisco de Goya might be the most international Spanish painter ever. His life and works have influenced diverse artistic expressions; among them, the film industry offers us several approaches regarding the figure of the painter, becoming the main or secondary character depending on the plot of the film. Through out these pages, we will get closer to his personality, beginning with those biographic aspects which have had a bigger repercussion on the so-called the cinema; and that, as an example, we highlight in two Spanish productions almost released at the same time: Volavérunt (Bigas Luna, 1999) y Goya en Burdeos (Carlos Saura, 1999). Key words: Cinema, painting, biopic, Francisco de Goya. FRANCISCO DE GOYA Y LUCIENTES: APROXIMACIÓN A pesar de ser uno de los artistas más estudiados y divulgados, no contamos con un currículum exacto de Goya. -
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. -
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. -
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. -
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. -
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. -
Goya and the War of Independence: a View of Spanish Film Under Franco (1939-1958)
GOYA AND THE WAR OF INDEPENDENCE: A VIEW OF SPANISH FILM UNDER FRANCO (1939-1958) Diana Callejas Universidad Autónoma de Madrid At the end of the 1950´s, and with the Franco regimen solidly established in power, Spanish society would commemorate, without excessive display, the 150-year anniversary of the 1808 War of Independence. This conflict had brought the defenders of the monarchy into confrontation against those of liberal constitutionalism, and the conservative tradition against the ideals of progress. For many historians and intellectuals of the era, the war symbolized the authentic redefining landmark of Spain. It was an expression both of a people, who with their minimal military resources were capable of overthrowing the most powerful imperial force of the time, Napoleon, and of the extremely radical opposition to the pressure imposed by foreign ideals. The substantial volume of movies about Goya and the War of Independence in Spanish cinema demands a needed reflection on the importance of this topic. The characteristics found both in the image of Goya, a key figure in Spanish culture who fused in his work the secular and the sacred, and also in the War, a conflict characterized by traditional social change, will be decisive references when this time period on the big screen. They will serve additionally as metaphors in subsequent years. Few studies exist on this topic, and there are fewer still that treat the Franco period; hence, this article offers fundamental insight on how to interpret a period of such change in the Spain’s cultural and ideological history. Understanding this time period is essential to understanding the evolution and development of this view in a year such as 2008, a year which marks the 200-year anniversary of the War of Independence and consequently that of May 2, a date inextricably linked in today’s society with the life and work of Francisco de Goya.