Read Ebook {PDF EPUB} Los caprichos de Francisco de Goya y Lucientes by Camilo José Cela Camilo José Cela. Cronología de obras. Narrativa 1942.- La familia de Pascual Duarte 1943.- Pabellón de reposo 1944.- Nuevas andanzas y desventuras de Lazarillo de Tormes 1945.- Esas nubes que pasan 1947.- El bonito crimen del carabinero 1949.- El gallego y su cuadrilla 1951.- La colmena 1952.- Santa Balbina 37, gas en cada piso 1952.- Timoteo el incomprendido 1953.- Café de artistas 1953.- Mrs. Caldwell habla con su hijo 1955.- La catira 1956.- El molino de viento 1957.- Nuevo retablo de don Cristobita 1960.- Los viejos amigos 1962.- Gavilla de fábulas sin amor 1962.- Tobogán de hambrientos 1963.- El solitario y los sueños de Quesada 1963.- Once cuentos de fútbol 1963.- Toreo de salón 1964.- Izas, rabizas y colipoterras 1965.- El ciudadano Iscariote Reclús 1965.- La familia del héroe 1965-1966.- Nuevas escenas matritenses 1969.- San Camilo, 1936 1973.- Oficio de tinieblas 5 1983.- Mazurca para dos muertos 1985.- Las orejas del niño Raúl 1985.- Vocación de repartidor 1987.- La bandada de palomas 1988.- Cristo versus Arizona 1989.- Los caprichos de Francisco de Goya y Lucientes 1990.- El hombre y el mar 1991.- Cachondeos, escarceos y otros meneos 1993.- La sima de las penúltimas inocencias 1994.- El asesinato del perdedor 1994.- La cruz de San Andrés 1994.- La dama pájara 1999.- Historias familiares 1999.- Madera de boj. 1967.- María Sabina 1969.- Homenaje a El Bosco I. El carro del heno o el inventor de la guitarra 1999.- Homenaje a El Bosco II. La extracción de la piedra de la locura o la invención del garrote. 1936.- Pisando la dudosa luz del día 1945.- El monasterio y las palabras 1948.- Cancionero de la Alcarria 1957.- Tres poemas gallegos 1959.- Encarnación Toledano o la perdición de los hombres 1959.- La verdadera historia de Gumersinda Cosculluela, moza que preferiría la muerte a la deshonra 1965.- Viaje a USA 1966.- Dos romances de ciego 1989.- Reloj de arena, reloj de sol, reloj de sangre 1996.- Poesía completa. Libros de viajes. 1948.- Viaje a la Alcarria 1952.- Cuaderno del Guadarrama 1952.- Ávila 1952.- Del Miño al Bidasoa 1955.- Vagabundo por Castilla 1956.- Judíos, moros y cristianos 1959.- Primer viaje andaluz 1965.- Páginas de geografía errabunda 1965.- Viaje al Pirineo de Lérida 1966.- Madrid 1970.- Barcelona 1986.- Nuevo viaje a la Alcarria 1990.- Galicia. Diccionarios y enciclopedias. 1968.- Diccionario secreto 1976.- Enciclopedia del erotismo 1976.- Rol de cornudos 1998.- Diccionario geográfico de España popular. 1959.- La rosa 1993.- Memorias, entendimientos y voluntades. Capricho No. 1: Francisco Goya y Lucientes, Painter. Los caprichos are a set of 80 prints in aquatint and etching created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived. The criticisms are far-ranging and acidic; he speaks against the predominance of superstition, the ignorance and inabilities of the various members of the ruling class, pedagogical short-comings, marital mistakes and the decline of rationality. Some of the prints have anticlerical themes. Goya described the series as depicting "the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance or self-interest have made usual. The work was an enlightened, tour-de-force critique of 18th-century Spain, and humanity in general. The informal style, as well as the depiction of contemporary society found in Caprichos, makes them (and Goya himself) a precursor to the modernist movement almost a century later. The Sleep of Reason Produces Monsters in particular has attained an iconic status. Goya added brief explanations of each image to a manuscript, now in the Museo del Prado; these help greatly to explain his often cryptic intentions, as do the titles printed below each image. Goya's series, and the last group of prints in his series The Disasters of War, which he called "caprichos enfáticos" ("emphatic caprices"), are far from the spirit of light- hearted fantasy the term "caprice" usually suggests in art. Toggle Menu. Los Caprichos de Francisco de Goya y Lucientes. Camilo José Cela. Madrid, Editorial Silex, 1989. Los Caprichos de Francisco de Goya y Lucientes. Camilo José Cela. Madrid, Editorial Silex, 1989. 24x17 cm. 172 pp.-1 h. 82 reproduciones de los grabados de Goya. Encuadernación cartoné editorial estampada en dorado con s/c ( 1ª ediciòn de la personalìsima versiòn literaria de Los Caprichos de Goya vistos por Cela) Contiene 80 grabados de Goya, comentadas brillantemente por Cela. Impecable. Antes de pujar pregunta, y para envíos fuera de España, preguntad por los gastos de envío. Para España, 8 €. Démandez vous quelq’un question. Ask me by any question. Francisco Goya Wiki, Age, Death, Wife, Children, Family, Biography & More. Francisco Goya was a Spanish romantic painter and printmaker. He was one of the great portraitists of his time. He is often referred to as the last of the Old Masters and the first of the moderns. Wiki/Biography. Francisco Goya was born as ‘Francisco José de Goya y Lucientes’ on Wednesday, March 30, 1746 ( age 82 years; at the time of death ), in Fuendetodos, Aragon, Spain. Birth House of Francisco Goya. His zodiac sign is Aries. Before his birth, his family had moved from Zaragoza to Fuendetodos due to his father’s transfer. In 1749, his parents were able to return to Zaragoza, where he grew up. Francisco is believed to have studied at Escuelas Pías de San Antón in Madrid, which offered free schooling. He had some knowledge of reading, writing, numeracy, and classics. According to Robert Hughes (an Australian-born art critic, writer, and producer of television documentaries), Francisco Goya seems to have taken no more interest than a carpenter in philosophical or theological matters, and his views on painting … were very down to earth: Goya was no theoretician.” From the age of 14, he studied painting under José Luzán y Martinez, for whom he copied stamps for 4 years until he decided to work on his own. He moved to Madrid to study with Anton Raphael Mengs, a German painter active in Dresden, Rome, and Madrid. Anton Raphael Mengs. In Madrid, he had a clash with his master and his examinations were unsatisfactory. In 1963 and 1966, he submitted entries for Real Academia de Bellas Artes de San Fernando, Calle de Alcalá in the heart of Madrid, but was denied entrance. Having failed to get a scholarship, he shifted to Rome, the cultural capital of Europe at that time, at his own expense. Later, he studied with Aragonese artist Francisco Bayeu y Subías. While studying with Francisco Bayeu his painting began to show signs of the delicate tonalities for which he later became famous. Francisco Bayeu y Subías. Physical Appearance. Eye Color: Brown. Hair Color: White (semi-bald) Family & Ethnicity. Parents & Siblings. He was born to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. His father, José, was a son of a notary (a person legalized to perform legal affairs) and worked as a gilder specialized in religious and decorative craftwork; he oversaw the gilding and most of the ornamentation during the rebuilding of the Basilica of Our Lady of the Pillar (Santa Maria del Pilar), the principal cathedral of Zaragoza. He had an elder sister named Rita (born in 1737), a younger sister named Jacinta (born in 1743), an elder brother named Tomás (born in 1739; guilder), and two younger brothers named Mariano (born in 1750) and Camilo (born in 1753). Affairs, Wife & Children. He got married to Josepha (nicknamed Pepa by Francisco), sister of Francisco Bayeu, on July 25, 1773. Portrait of Josepha Bayeu by Francisco Goya. Their first child, Antonio Juan Ramon Carlos was born on August 29, 1774, and died in infancy. They had other children’s: María Pilar Dionisia de Goya Bayeu (born in 1779), Eusebio Ramón de Goya Bayeu (born in 1775), Vicente Anastasio de Goya Bayeu (born in 1777), Francisco de Paula Antonio Benito de Goya Bayeu (born in 1780), and Hermenegilda de Goya Bayeu (born in 1982); all died in infancy. One of his children with Josepha lived past infancy to adulthood; his name was Francisco Javier de Goya y Bayeu who was born on December 2, 1984. Painting of Francisco Javier de Goya y Bayeu. His wife died in 1812. He was said to have an affair with Maria Cayetana de Silva, the Duchess of Alba. Painting of Maria Cayetana de Silva by Francisco Goya. There has been speculation that Francisco was having an affair with Leocadia Weiss, a distant relative and his maid who was 35 years younger than him and lived with him after his wife’s death. Painting of Leocadia Weiss by Francisco Goya. Leocadia’s daughter, Rosario Weiss Zorrilla (Spanish painter), was Francisco’s goddaughter. She was believed to be Francisco’s child due to the speculations of Leocadia being Goya’s mistress. Rosario Weiss Zorrilla. Career. Goya’s Visit to Italy. Early biographers claim that Francisco traveled to Rome with a gang of bullfighters, where he worked as a street acrobat or worked for a Russian diplomat. It was also claimed that he plotted to abduct a young nun from her convent after he fell in love with her. During his visit to Italy, he made the paintings: Sacrifice to Vesta and Sacrifice to Pan, both dated 1771. The Sacrifice to Vesta by Francisco Goya. In 1771, he became the second prize winner of a painting competition, which was organized by the City of Parma. Later that year, he returned to Zaragoza and painted elements of the cupolas of the Basilica of the Pillar (including Adoration of the Name of God), a cycle of frescoes for the monastic church Charterhouse of Aula Dei, and the frescoes for the Sobradiel Palace. Adoration of the Name of God by Francisco Goya. Goya in Madrid (1775-1989) Goya earned a commission for a series of tapestry cartoons for the Royal Tapestry Factory, with the help of his marriage with Francisco Bayeu’s sister and Bayeu’s 1765 membership of the Real Academia de Bellas Artes de San Fernando and directorship of the tapestry works from 1777. Over five years, he designed some 42 patterns, many of which were used to cover the walls of the residences of the Spanish monarchs, El Escorial and the Palacio Real del Pardo. Designing for tapestries was not prestigious or well paid, but Francisco used it as a medium to bring attention to his work. The Parasol by Francisco Goya. His 1779 etching of ‘The Garrotted Man’ (El agarrotado) was the largest work he had produced to date. The Garrotted Man by Francisco Goya. Francisco’s other famous works from the period include a canvas for the altar of the Church of San Francisco El Grande in Madrid, which led to his appointment as a member of the Real Academia de Bellas Artes de San Fernando. Canvas for the Altar at Church of San Francisco El Grande by Francisco Goya. As a Court Painter. In 1783, Goya was commissioned by José Moñino, Count of Floridablanca, favorite of King Charles III, to paint his portrait. From there, he grew his connections, becoming friends with the King’s half-brother Luis Antonio. He spent two summers working on portraits of both the Luis and his family. The Family of the Infante Don Luis by Francisco Goya. During the 1780s, his connections in the royal family grew to the Duke and Duchess of Osuna, the King, and other notable people of the kingdom, for whom he painted. In 1786, Goya was given a salaried position as a painter to Charles III. In 1989, he was appointed as a court painter to Charles IV and was made the First Court Painter, the following year. He made many portraits of the royal family, out of which, ‘Charles IV of Spain and his Family,’ is viewed as satirical amongst the modern interpreters. The painting is regarded as satirical as it is believed to have revealed the corruption behind the rule of Charles IV. Charles IV of Spain and his Family by Francisco Goya. Francisco Goya earned commissions from the highest ranks of the Spanish nobility, including Pedro Téllez-Girón (the 9th Duke of Osuna) and his wife María Josefa Pimentel (12th Countess-Duchess of Benavente), José Álvarez de Toledo (Duke of Alba) and his wife María del Pilar de Silva, and María Ana de Pontejos y Sandoval (the Marchioness of Pontejos). In 1801, he painted the Spanish Prime Minister Manuel de Godoy in a commission to commemorate the victory in the War of the Oranges (1801) against Portugal. Francisco and Godoy were good friends. Portrait of Manuel Godoy by Francisco Goya. The Majas and Caprichos. Godoy is believed to have commissioned ‘La maja desnuda’ (1790-1800) and ‘La maja vestida’ (1800-1805). La maja desnuda is described as, the first totally profane life-size female nude in Western art without pretense to allegorical or mythological meaning.” The identity of the Majas is uncertain but is believed to be either Duchess of Alba or Pepita Tudó, mistress of Manuel Godoy. The paintings were owned by Godoy and were never exhibited publicly during Goya’s lifetime. After the exile of Godoy, all his properties were taken by Ferdinand VII (King of Spain from 1808 to 1833), and in 1813, the Spanish Inquisition confiscated both the paintings as ‘obscene,’ and returned them in 1836 to the Academy of Fine Arts of San Fernando. La maja vestida by Francisco Goya. Sometime between late 1792 and early 1793, Francisco became deaf due to an undiagnosed illness, which left him withdrawn and introspective as the direction and tone of his work changed. He began working on the series of aquatinted etchings called Caprichos, published in 1799. 80 Caprichos prints were depicted as what Francisco described, the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual.” A Caprichos Print by Francisco Goya. It is believed that these paintings were the reflection of Goya’s mental trauma. Goya During the Peninsular War. In 1808, the French army invaded Spain, which led to the Peninsular War of 1808–1814. During this period, Goya was involved in the court of Joseph I, the brother of Napoleon Bonaparte. It is not known that up to what extent was he involved with the French, but he painted works for French patrons and sympathizers. He was neutral during the war and after the restoration of the Spanish king Ferdinand VII in 1814, he denied any involvement with the French. By the time of his wife’s death, he was painting ‘The Second of May 1808’ and ‘The Third of May 1808.’ The paintings are set in the Calle de Alcalá near Puerta del Sol, Madrid, during the Dos de Mayo Uprising (1808), a rebellion by the people of Madrid against the French troopers. Both paintings were completed in a two-month time frame in 1814. At the same time, he was also preparing the series of etchings known as ‘The Disasters of War’ (Los desastres de la guerra). He called the 82 print series as ‘caprichos enfáticos.’ Art history historians view them as a visual protest against the violence of the Dos de Mayo Uprising, although, the intention of Goya for making the etchings is not clear. They were not published until 1863; the most probable reason is that it might have been considered politically safe to distribute a sequence of artworks, which criticized both the French and restored Bourbons, after years. The Disasters of War by Francisco Goya. The Black Paintings. The records of his later life are relatively little. He suppressed most of his work during this period and started to make paintings in private. He withdrew himself from public life during his final years, although he was a royal painter. From the late 1810s, he lived in near-solitude outside Madrid in a farmhouse converted into a studio. The house came to be known as “La Quinta del Sordo” (The House of the Deaf Man), after the nearest farmhouse that had belonged to a deaf man coincidentally. La Quinta del Sordo. Art historians assume that he felt alienated from the social and political trends that followed the 1814 restoration of Bourbon monarchy. At the age of 75, alone and in mental and physical despair, he completed the work of his 14 Black Paintings, all of which were made oil directly onto the plaster walls of his house. He never wanted the paintings to be seen and never wrote an account of them or discussed them. After 50 years of his death, around 1874, the paintings were taken down and transferred to canvas support. During the restoration, many of the works were significantly altered. In the words of Arthur Lubow (a journalist and author) what remains are, at best a crude facsimile of what Goya painted.” At present, they are on permanent display at the Museo del Prado, Madrid. Saturn Devouring his Son- One of the Black Paintings by Francisco Goya. Some Other Famous Works. Yard with Lunatics (1793-94): A small oil-on-tinplate painting made by Goya portraying his vision of loneliness, fear, and social alienation. It was one of his first mid-1970s cabinet paintings. It is noted that at the time of the making of the painting, he was undergoing a nervous breakdown and entering prolonged physical illness. Yard with Lunatics by Francisco Goya. The Burial of the Sardine by Francisco Goya. The Madhouse by Francisco Goya. Temeridad de martincho en la plaza de Zaragoza – La Tauromaquia by Francisco Goya. Santas Justa and Rufina by Francisco Goya. Los disparates by Francisco Goya. The Milkmaid of Bordeaux by Francisco Goya. Earnings and Possessions. As a first court painter, he was salaried with 50,000 reales (unit of currency after mid 14th century in Spain) a year and an allowance of 500 ducats for a coach. In 1812, when he was 66, his house, furniture, possessions, and cash in hand were worthed, about 350,000 reales. In February 1819, aged 73, Goya bought a farmhouse outside Madrid known as La Quinta del Sordo. [2] The Guardian. Signature. In his paintings, Francisco used to leave micro-signatures, which could be a sign, symbol, or stokes to identify his work. They can be observed by detailed analysis with a magnifying lens, going over his paintings centimeter by centimeter. Francisco Goya’s Signature. Illness and Death. Between late 1792 and 1793, he was left deaf due to an undiagnosed illness. A contemporary reported, The noises in his head and deafness aren’t improving, yet his vision is much better and he is back in control of his balance. These symptoms may indicate prolonged viral encephalitis, or possibly a series of miniature strokes resulting from high blood pressure and which affected the hearing and balance centers of the brain. Symptoms of tinnitus, episodes of imbalance, and progressive deafness are typical of Ménière’s disease.” It is believed that he suffered from cumulative lead poisoning, as he used massive amounts of lead white, both as a canvas primer and as a primary color, in his paintings. Other postmortem diagnostic assessments indicate paranoid dementia, which was caused possibly due to brain trauma, as evidenced by marked changes in his work after his recovery, which can be seen in the Black Paintings. Goya died on Wednesday, April 16, 1828, in Bordeaux, France. In his will, he left nothing for Leocadia Weiss. After Goya’s death, she wrote to the number of friends of her exclusion from the will, but many of her friends were also friends with Goya, and by then were old men or had died. Thus, she did not get a reply. Francisco Goya was buried in Bordeaux. At the turn of century, his remains were unearthed and were taken to Madrid as part of a huge celebration commemorated with a statue of the artist placed at the north entrance of the Prado museum. He was then buried in the Pantheon of Illustrious Men of the Cemetery of San Isidro, and finally, he was laid to rest in the church of San Antonio de la Florida in Madrid in 1929. Francisco Goya’s Cemetery. Facts/Trivia. At school, he had a close friendship with Aragonese merchant Martín Zapater. Francisco, in his 131 letters to Martin Zapater, talked about his hobbies mainly hunting and listening to music. In his letters, he talked about songs such as tiranas or seguiridillas and watching opera. He also mentioned playing a game of lottery with Martín Zapater. There are many films made on the life of Goya. A few of them are- The Naked Maja (1958; Italian-French American), Goya or the Hard Way to Enlightenment (1971; German), Goya in Bordeaux (1999; Spanish), Volavérunt (1999; Spanish), Goya’s Ghosts (2006; Spanish- American), and Goya: Crazy Like a Genius (2012). A Scene from ‘Tiempo de ilustrados’ of the series ‘The Ministry of Time’ Devota profesion. Esta estampa corresponde al grupo temático "diabluras y brujerías". Goya aborda este tema por medio de la representación de un brujo con orejas de burro que canta misa, sostenido sobre los hombros del Diablo o Gran Cabrón . Estos dos personajes están acompañados por dos religiosos adornados con los mismos atributos burrales que llevados en alto por dos aves de rapiña, usan unas grandes tenazas para mantener abierto un gran libro delante de él. La escena es simbólica, representa a alguien haciendo los votos, por lo que la estampa continúa ofreciendo una inversión de lo religioso y como tal puede ser entendida como un mundo de condenados por la Inquisición y de brujas, personajes que se apoyan sobre la herejía y la voraz rapiña. La representación de la profesión de fe del personaje es más que nada una esquematización de cómo se entraba a la brujería. Según la demonología, se creía que las personas entraban a lo diabólico como se entregaban a Dios, es decir con la realización de un bautizo al revés o de antibautizo. La escena de este Capricho es una parodia blasfema del culto religioso, y puede tener una función más bien descriptiva que burlesca. Lo que señala la crítica de las creencias de las brujas son las orejas de burro simbólicas y otros rasgos grotescos, que identifican a sus poseedores como seres irracionales y ridículos. El epígrafe es pura ironía, señalando una profesión que no es devota. El año de 1799 es uno de los momentos clave en la vida y la obra de Francisco de Goya. Además de ser nombrado primer pintor de cámara, gozar de un creciente prestigio como retratista y de inaugurarse la ermita de San Antonio de la Florida que él había decorado, el 6 de febrero se publicó en el Diario de Madrid el anuncio de la puesta a la venta de las ochenta estampas que forman la serie de los Caprichos . Ésta marca la culminación de un intenso periodo en la vida del pintor, que se había iniciado en 1792, cuando a consecuencia de una enfermedad convaleció en la residencia gaditana de Sebastián Martínez, donde pudo contemplar estampas satíricas inglesas que influirían posteriormente en su obra. A su regreso a Madrid cultivó la amistad de Leandro Fernández de Moratín, con quien hubo de intercambiar ideas que estarían después presentes en los Caprichos. En 1797 se fecha el primer dibujo de un conjunto que hoy conocemos como los Sueños , que constituyen la base visual y conceptual de los Caprichos ; en ellos se encuentran las formas y también las ideas, los grandes temas, de la serie. Durante estos años, Goya empezó a dibujar en álbumes, en los que captaba imágenes de la vida cotidiana y elaboraba composiciones de invención en las que abordaba de forma satírica aspectos de su tiempo. Fruto de esta actividad son los denominados Álbum de Sanlúcar y Álbum de Madrid , en los que ya se encuentra la fuente de algunas de las estampas de los Caprichos . Como menciona el anuncio de la venta, los Caprichos son ante todo una sátira concebida como medio para combatir los vicios de los hombres y los absurdos de la conducta humana. Simplificando la serie, podemos agrupar las estampas en torno a cuatro grandes temas, todos ellos de indudable tono crítico. En el primero de ellos aborda el engaño en las relaciones entre el hombre y la mujer: el cortejo como práctica habitual según la cual el hombre moderno, ocupado en sus variados negocios, dejaba que su esposa fuese acompañada en sus salidas por un galán; la prostitución que denigraba y explotaba la condición de ambos sexos; y los matrimonios desiguales o de conveniencia, práctica habitual de su tiempo y criticada por los ilustrados. La sátira de la mala educación y la ignorancia, fruto de la preocupación ilustrada por esta cuestión, tiene su reflejo en los Caprichos que muestran las consecuencias de unas enseñanzas equivocadas en los niños; las falsas creencias y las supersticiones producto de la ignorancia; y la brujería como manifestación suprema de la falta de instrucción y de la superstición. La condena de los vicios arraigados en la sociedad, y particularmente en el clero, tienen también cabida: la vanidad, la gula, la pereza, la lujuria o la avaricia se nos muestran de forma cáustica en otro grupo de estampas. Finalmente otros Caprichos dejan ver su protesta contra los abusos del poder: la Inquisición, la prepotencia de las clases dirigentes, la explotación del pueblo y las injusticias de la ley.