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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. -
Siède French Svmbousm Through Its Premise That an Idea
Mester, Vol. xvz.v, (2000) Mario Vargas Llosa: Literatura, Art, and Goya's Ghost The relatíonship between the \'erbal and the pictorial—that is, between the written word and its \'isual representation, has exercised a particular fascination upon writers and ¿irtists throughout the ages. This nexus has operated both ways: artists have been fascinated by the manner in which writers manipúlate words, syntax and style to fashion new verbal realities (novéis, poems, plays), while writers for their part have succumbed to the allure of artists who utilise paint, ink, acid or crayons to créate new \'isual realities. Examples of this mutual attrac- tion and occasional cross-fertilisation between artists and writers abound. Perhaps no aesthetic movement illustrates the symbiosis be- tween literature and art more consistently and strikingly than fin ãc siède French svmboUsm through its premise that an idea could be expressed through form, the word orobjectrepresented beingnomore thím a sign to open up the pri\'ate world of the imagination. Thus, symbolist poets like Mallarmé, Verlaine and Rimbaud had their coun- terparts in painters like Redon, Moreau, Rops and Ensor—a spiritucd bond between the verbal and the plástic arts that has inspired exhibi- tions in importantmuseums,galleries andlibraries in cities as far apart as Melboume and Madrid.^ With respect to the Hispímic world, it is well-known that Sah ador Dalí and Federico García Lorca exercised considerable creative intlu- ence upon each other, while Dali also produced a series of one hundred wood engravings illustrating Dante's The Divine Comedi/. The early novéis of the Spanish Nobel Prize winner for literature, Camilo José Cela, were influenced by the power and the passion of Picasso's Guemica (1937), whose tortured images of mayhem in tum echo the scenes of murder cind mutilation in La familia de Pascual Duarte. -
Celestinas Y Majas En La Obra De Goya, Alenza Y Lucas Velázquez
Celestinesca 39 (2015): 275-328 Celestinas y majas en la obra de Goya, Alenza y Lucas Velázquez Rachel Schmidt University of Calgary A pesar de que se imprimieron pocas ediciones de la Celestina de Rojas en el siglo de las luces, como resume Joseph T. Snow, la fama de la obra «se incorporó en la conciencia del país» (2000: 46), hasta que la figura de su protagonista llegó a ser un tipo que designaba mujeres ejerciendo el oficio de terceras y alcahuetas. En el sigloXVIII se solía asociar la figura de celestina con una mujer madura y astuta que guiaba a un chico joven e inocente hacia un matrimonio, le conviniera o no. Es de esta manera como José Cadalso recomendaba al «militar a la violeta» la lectura de la obra de Rojas para que el joven ingenuo aprendiera a escaparse de los designios de las «viejas zurcidoras», herederas del oficio de la Celestina (Helman 1955: 221). Luis Paret y Alcázar, en su acuarela Celestina y los enamorados (1784), ya muestra el tipo de la anciana, con nariz bulbosa y mejillas hundidas, situada en un escenario empobrecido y circundada por botellas de vino (Snow 2000: 45). La tríada de celestina, prostituta y cliente será el modelo representativo de lo que Tomás Rodríguez Rubí clasificó como el rango más bajo de la «mujer del mundo», en un ensayo publicado en Los españoles pintados por sí mismos (1843); en este estudio, una viñeta con las cabezas de tres figuras, sirve como colofón al escrito (Figura 1). Los tipos son icónicos: la Celestina «con su nariz grotesca y su barbilla grande» dirige a la chica, situada en el centro, hacia el hombre, al que quiere vender sus servicios. -
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. -
Goya Dans L'historiographie Française, 1842-1900
Goya dans l’historiographie française, 1842-1900 Agnès Gué To cite this version: Agnès Gué. Goya dans l’historiographie française, 1842-1900. Art et histoire de l’art. 2014. dumas- 01217336 HAL Id: dumas-01217336 https://dumas.ccsd.cnrs.fr/dumas-01217336 Submitted on 19 Oct 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License ÉCOLE DU LOUVRE Agnès GUÉ Goya dans l’historiographie française 1842 - années1900 Volume I Mémoire de recherche (2nde année de 2ème cycle) en histoire de l'art appliquée aux collections présenté sous la direction de Madame Cristina MARINAS, Maître de Conférences à l’Ecole Polytechnique, Département Langues et Cultures Septembre 2014 1 2 Résumé Si Goya intéresse les critiques et les historiens d’art français du XIXe siècle, il n’est cependant pas considéré comme un artiste de premier plan dans l’histoire de l’art pendant cette période. Pourtant, les travaux français sur Goya à cette époque sont novateurs ; on y trouve ainsi les premiers catalogues de l’œuvre gravé et peint du maître aragonais. Le recueil gravé des Caprices, qui compte parmi l’une des premières œuvre mentionnées de cet artiste, est sans doute aussi la plus connue en France : la découverte de ce recueil marque l’historiographie française sur Goya, dont l’œuvre est parfois réduite à cette série, ce qui fait considérer l’artiste comme le premier graveur espagnol, tandis que sa peinture, mal connue est peu appréciée en général. -
Old Spanish Masters Engraved by Timothy Cole
in o00 eg >^ ^V.^/ y LIBRARY OF THE University of California. Class OLD SPANISH MASTERS • • • • • , •,? • • TIIK COXCEPTION OF THE VIRGIN. I!V MURILLO. PRADO Mi;SEUAI, MADKIU. cu Copyright, 1901, 1902, 1903, 1904, 1905, 1906, and 1907, by THE CENTURY CO. Published October, k^j THE DE VINNE PRESS CONTENTS rjuw A Note on Spanish Painting 3 CHAPTER I Early Native Art and Foreign Influence the period of ferdinand and isabella (1492-15 16) ... 23 I School of Castile 24 II School of Andalusia 28 III School of Valencia 29 CHAPTER II Beginnings of Italian Influence the PERIOD OF CHARLES I (1516-1556) 33 I School of Castile 37 II School of Andalusia 39 III School of Valencia 41 CHAPTER III The Development of Italian Influence I Period of Philip II (l 556-1 598) 45 II Luis Morales 47 III Other Painters of the School of Castile 53 IV Painters of the School of Andalusia 57 V School of Valencia 59 CHAPTER IV Conclusion of Italian Influence I of III 1 Period Philip (1598-162 ) 63 II El Greco (Domenico Theotocopuli) 66 225832 VI CONTENTS CHAPTER V PACE Culmination of Native Art in the Seventeenth Century period of philip iv (162 1-1665) 77 I Lesser Painters of the School of Castile 79 II Velasquez 81 CHAPTER VI The Seventeenth-Century School of Valencia I Introduction 107 II Ribera (Lo Spagnoletto) log CHAPTER VII The Seventeenth-Century School of Andalusia I Introduction 117 II Francisco de Zurbaran 120 HI Alonso Cano x. 125 CHAPTER VIII The Great Period of the Seventeenth-Century School of Andalusia (continued) 133 CHAPTER IX Decline of Native Painting ii 1 charles ( 665-1 700) 155 CHAPTER X The Bourbon Dynasty FRANCISCO GOYA l6l INDEX OF ILLUSTRATIONS MuRiLLO, The Conception of the Virgin . -
Ignacio Zuloaga
Artigrama, núm. 25, 2010, pp. 165-183. ISSN: 0213-1498 La pasión por Goya en Zuloaga y su círculo Jesús Pedro Lorente Lorente* Resumen Este artículo reúne dos categorías de argumentos para mostrar que Ignacio Zuloaga fue como artista uno de los más señalados cultivadores de pinturas goyescas en cuestiones icono- gráficas y estéticas en las que tuvo a su vez seguidores; pero también un peritísimo goyista, quien coleccionó ávidamente obras del aragonés e incentivó a otros coleccionistas sirviéndoles de intermediario, por lo que figuran en lugar destacado en su museo de Zumaya y en tantos otros de todo el mundo. Palabras clave Goya, Zuloaga, gusto, coleccionismo. Abstract This article proposes two lines of argumentation, in order to show on the one hand that Ignacio Zuloaga was, as an artist, one of the most distinguished cultivators of goyesque paintings both regarding iconography and in aesthetic terms, leading the way to some emulators; but he also was, on the other hand, a knowledgeable expert in Goya, whose works he avidly collected, helping others to do so as well, as a result of which they figure prominently in his Zumaya museum and in others around the world. Key words Goya, Zuloaga, taste, collecting. * * * * * Uno de los más fascinantes temas de investigación para los historiado- res del arte es rastrear la trascendencia de los grandes artistas y sus obras, tanto en lo que respecta a al influjo en otros artistas como en lo relativo a su fortuna crítica entre los estudiosos. Ambos aspectos cuentan ya con importantes aportaciones en el caso de Goya: para lo segundo el libro de referencia —donde curiosamente sólo se nombra de pasada a Zuloaga, uno de los mayores activistas en reivindicar públicamente la memoria de Goya—, sigue siendo el publicado por Nigel Glendinning en 1977, Goya and His Critics;1 mientras que sobre la descendencia artística goyesca sentó * Profesor Titular en el Departamento de Historia del Arte de la Universidad de Zaragoza. -
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. -
Dreams and Fury of a Visionary: Goya Francisco Goya
Dreams and fury of a visionary: Goya Francisco Goya Unlike many of the leading figures of the art world, Francisco Goya cannot be really placed in any specific artistic movement or historical period. On the one hand he is close to the late Baroque and to Neoclassicism, on the other his opus shows themes typical of the Age of Enlightenment, anticipations of romantic philosophy and reflections on modernity. In a politically and socially backwards Spain, Goya is a witness (in Argan’s words) “of sharp mind and of moral and political dignity”, as well as a precursor of the anguish and reflections of the XIX and XX century. In the artistic journey of the Spanish master, engraving acts as a cultural and stylistic synthesis of his iconography, and Goya revolutionises its techniques too. A true etching virtuoso, the Spanish artist is equally versed in drypoint and burin and experiments successfully with aquatint. Goya’s work is a real turning point in the history of printmaking and his influence can be traced across the entire XIX century and even in the XX century, as far as into German Expressionism. The exhibition presented here follows in a remarkably complete fashion the entire span of Goya’s life. In the D’après Velazquez series (1778-82) the artist pays tribute to his master with eleven extraordinary etchings. The second series are the Caprichos, completed in 1798. Rooted in Enlightenment rationality, these exceptional plates nevertheless prefigure more modern anxieties and irrationalities. Goya’s satire uncovers the evils, prejudices and deceits of the Spain of his times, which are the same evils, prejudices and deceits of any society. -
Francisco De Goya. Diplomatario
El «Diplomatario de Francisco de Goya es una edición técnica de 284 testos escritos por el pintor entre 1771 y 1828. más 197 documen tos dirigidos o relativos al mismo en los años 1746 a 1919. Un estudio preliminar indica las vicisitudes del epistolario goyesco, sus ca racterísticas paleográficas, diplomatisticas y grafológicas, reproduce los dibujos insertos por Goya en sus cartas al amigo de la infan cia Martín Zapater y Clavería y ofrece datos pertinentes sobre cada uno de los documen tos que se editan (sinceridad diplomática, de pósito en que se hallan actualmente, edicio nes íntegras o parciales, citas, etc., referidas a 94 obras de bibliografía selecta sobre Goya). Ideada esta edición para uso ulterior de goyistas, los 481 textos editados, distribuidos en dos series (la del «Registro» con textos emanados de Goya y la del «Cartulario» con textos dirigidos o relativos a Goya), llevan numeración correlativa (cifras arábigas o nú meros romanos, según la serie) y en cada documento numeración marginal de renglo nes para fácil y exacta cita. Dos índices, uno del «Registro» y otro del «Cartulario» facilitan la localización de ono- másticos, topónimos y conceptos insertos en los documentos editados. Se añade una sinóp sis cronológica de la vida de Goya, con 408 noticias fidedignas enriquecidas con los da tos consignados en los textos de este «Diplo- matario». Y como novedad se edita un rico léxico de Goya, que reproduce en su auto- grafía unas 3.500 palabras empleadas por el pintor en sus cartas originales. Ángel Canellas López, preparador de esta edición y autor del estudio preliminar, es catedrático de Paleografía y Diplomática en la Universidad de Zaragoza, académico de la Real de Bellas Artes de San Luis de Zarago za y correspondiente de la Real de la Histo ria, y director de la «Institución Fernando el Católico» de la Diputación Provincial de Za ragoza, mecenas de esta edición. -
By Fernando Herrero-Matoses
ANTONIO SAURA'S MONSTRIFICATIONS: THE MONSTROUS BODY, MELANCHOLIA, AND THE MODERN SPANISH TRADITION BY FERNANDO HERRERO-MATOSES DISSERTATION Submitted as partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Jonathan D. Fineberg, Chair Associate Professor Jordana Mendelson, New York University Assistant Professor Terri Weissman Associate Professor Brett A. Kaplan Associate Professor Elena L. Delgado Abstract This dissertation examines the monstrous body in the works of Antonio Saura Atares (1930-1998) as a means of exploring moments of cultural and political refashioning of the modern Spanish tradition during the second half of the twentieth century. In his work, Saura rendered figures in well-known Spanish paintings by El Greco, Velázquez, Goya and Picasso as monstrous bodies. Saura’s career-long gesture of deforming bodies in discontinuous thematic series across decades (what I called monstrifications) functioned as instances for artistic self-evaluation and cultural commentary. Rather than metaphorical self-portraits, Saura’s monstrous bodies allegorized the artistic and symbolic body of his artistic ancestry as a dismembered and melancholic corpus. In examining Saura’s monstrifications, this dissertation closely examines the reshaping of modern Spanish narrative under three different political periods: Franco’s dictatorship, political transition, and social democracy. By situating Saura’s works and texts within the context of Spanish recent political past, this dissertation aims to open conversations and cultural analyses about the individual interpretations made by artists through their politically informed appropriations of cultural traditions. As I argue, Saura’s monstrous bodies incarnated an allegorical and melancholic gaze upon the fragmentary and discontinuous corpus of Spanish artistic legacy as an always-retrieved yet never restored body.