Francisco Goya
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Witches Sabbath( the Great He- Goat)
Witches sabbath( the great he- goat) Continue Otherwise known as the Great On-Goat, Francisco Goya provides a visually stunning and historically terrifying representation of this famous mural that adorned the mid-1800s that brought to life vivid and terrifying memories of the Spanish Inquisition. The description of the painting depicts Satan surrounded by a group of frightened and anxiously mutilated witches. Satan appears as an almost shady goat whose characteristics are not so easy to see or define. A goat man appears with his mouth wide open, as if he are shouting curses (or instructions) to his closest followers. He appeals to the modern belief that power is asserted through fear, not respect for power or title. Women's age varies, but throughout their work they have similar distortions. They seem frightened, but overwhelmingly obedient, as if they obey Satan's orders and intentions to obey. He is considered to be part of fourteen or more paintings depicting Goyah's Black Paintings. The story of Francisco Goya took extreme measures and risks on the heels of the terrible Spanish Inquisition, as well as the witch hunt and trials that followed soon after. Goya directly and visually attacks the feelings and mentality of the time, which reveled in superstitions and religious horror on the dark side of human nature. Although this mural (among other works by Goya) was moderately hidden during its creation for fear of recriminations in his artistic commentary, it is considered one of his best works - all of which appear later in his career. Francisco Goya retreated from the public eye and was constantly afraid to go crazy. -
Aquelarre O Asmodea
Aquelarre o Asmodea Pagina 1 de 6 - P00756 Número de catálogo: Duelo a garrotazos P00756 Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Título: Aquelarre o Asmodea P00759 Dos frailes Fecha: Goya y Lucientes, Francisco de 1820 - 1823 Pinturas de la Quinta del Sordo (Pinturas Negras) Técnica: P00760 Óleo La Romería de San Isidro Goya y Lucientes, Francisco de Soporte: Pinturas de la Quinta del Sordo (Pinturas Negras) Pintura mural trasladada a lienzo P00761 Medidas: El aquelarre, o El Gran Cabrón Alto: 127 cm.; Ancho: 263 cm. Goya y Lucientes, Francisco de Pinturas de la Quinta del Sordo (Pinturas Negras) Procedencia: Quinta del Sordo, Madrid, donada por Goya antes de partir para P00762 Burdeos en 1823 a su nieto Mariano. Vendida por éste a Javier Dos viejos comiendo Goya, en 1833, aunque retornó a la propiedad de Mariano en Goya y Lucientes, Francisco de 1854. En 1859, la posesión fue vendida a Segundo Colmenares. Pinturas de la Quinta del Sordo (Pinturas Negras) En 1863 adquirida por Louis Rodolphe Coumont. Comprada en 1873 por el barón Frédéric Emile d´Erlanger, que encargó el P00763 inmediato traslado de las pinturas murales a lienzo. En 1878, en Saturno devorando a un hijo la Exposición Universal de París, para su posible venta. En 1881 Goya y Lucientes, Francisco de d'Erlanger las cedió al Estado español, que las destinó al Museo Pinturas de la Quinta del Sordo (Pinturas Negras) del Prado, donde se expusieron desde 1889 P00764 Forma ingreso: Judit y Holofernes Adscripción-Donación Goya y Lucientes, -
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. -
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. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
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. -
Through Gendered Lenses Enough to Ensure Its Continued Success
An Undergraduate Academic Journal of Gender Research & Scholarship ThroughThrough genderedgendered LensesLenses Edited By The Gender Studies Honors Society Gender Studies Program—University of Notre Dame 2011 Table of Contents Acknowledgements Letter from the Editors The Problem of the Woman Artist: How Eva Gonzales Was “Seen” in Late Nineteenth-Century France / 9 Brigid Mangano A Written but Unpracticed Intolerance: Same-Sex Sexuality and Public Order in Colonial America / 47 Joseph VanderZee Fairy Tale Fascinations with Victorian Governesses: The Seduction of Sympathizing with the Governess Figure in Nineteenth-Century Novels / 63 Kelly McGauley “A Life in Words”: Domestic Objects and Gertrude Stein / 105 Rachel Roseberry Singing in the Dead of Night, Seeking an Inclusive Community / 119 Mary Herber About Triota: The Gender Studies Honors Society / 132 About the Gender Studies Program / 134 Acknowledgments In its second edition, the Gender Studies Honor Society would like to recognize those who valued Through Gendered Lenses enough to ensure its continued success. This volume would be nothing but an aspiration without the foresight of former editors Amanda Lewis and Miriam Olsen, whose wise advice guided this year’s editorial board. We owe them our sincere gratitude for their work on the first volume and their undeniable influence on the second. Additionally, the Honor Society recognizes Linnie Caye, Program Coordinator for the Gender Studies Program and unremitting cheerleader of this year’s journal. We also thank Dr. Pamela Wojcik, Program Director, and Dr. Abigail Palko, Director of Undergraduate Studies, for their input in the publishing process. This year’s editors have realized that publishing a journal not only requires endless planning but also funding from multiple sources. -
Goya Analysis
Lauren Woods HTA101B Modern To Contemporary Raffaele Bedaria Fall 2015 Visual Analysis of Goya’s Witches Sabbath: The Great He-Goat Goyas’s Witches Sabbath or The Great He-Goat is an incredibly profound work created between 1820 and 1823. The painting, done in oils, was originally one of the murals that adorned La Quinta Del Sordo (the house of the deaf man) where Goya lived and worked at the end of his career. It is known as one of the fourteen “black paintings” that Goya did nearing the end of his life, and at the climax of his imaginative and creative genius. They were all originally painted directly on the walls of his home, but were later removed and attached to canvases. These paintings all portrayed very surreal and deeply emotional, sometimes hysterical imagery - contrasting Goya’s more formal commissioned portraiture and figural work. In the Witches Sabbath specifically, Goya seems to allude to self-destruction and disturbing depictions of death while also ridiculing the irrationality of certain superstitions. This painting, among the others in this series provide an interesting insight into Goya’s views in relation to the supernatural forces that shape man’s existence. The Great He-Goat was painted toward the end of Goya’s life, at a time when both his fame and his mental state were declining. He was haunted by old age and his recent deaf-ness, placing him in an ideal position to examine man’s emotional temperament through a combination of pathos and pessimism. The painting depicts (presumably) Satan in the form of a large goat (also referred to as Baphomet) surrounded by people sitting in a sort of circular formation. -
Humanities (World Focus) Course Outline
Guiding Document: Humanities Course Outline Humanities (World Focus) Course Outline The Humanities To study humanities is to look at humankind’s cultural legacy-the sum total of the significant ideas and achievements handed down from generation to generation. They are not frivolous social ornaments, but rather integral forms of a culture’s values, ambitions and beliefs. UNIT ONE-ENLIGHTENMENT AND COMPARATIVE GOVERNMENTS (18th Century) HISTORY: Types of Governments/Economies, Scientific Revolution, The Philosophes, The Enlightenment and Enlightenment Thinkers (Hobbes, Locke, Montesquieu, Voltaire, Jefferson, Smith, Beccaria, Rousseau, Franklin, Wollstonecraft, Hidalgo, Bolivar), Comparing Documents (English Bill of Rights, A Declaration of the Rights of Man, Declaration of Independence, US Bill of Rights), French Revolution, French Revolution Film, Congress of Vienna, American Revolution, Latin American Revolutions, Napoleonic Wars, Waterloo Film LITERATURE: Lord of the Flies by William Golding (summer readng), Julius Caesar by Shakespeare (thematic connection), Julius Caesar Film, Neoclassicism (Denis Diderot’s Encyclopedie excerpt, Alexander Pope’s “Essay on Man”), Satire (Oliver Goldsmith’s Citizen of the World excerpt, Jonathan Swift’s Gulliver’s Travels excerpt), Birth of Modern Novel (Daniel Defoe’s Robinson Crusoe excerpt), Musician Bios PHILOSOPHY: Rene Descartes (father of philosophy--prior to time period), Philosophes ARCHITECTURE: Rococo, Neoclassical (Jacques-Germain Soufflot’s Pantheon, Jean- Francois Chalgrin’s Arch de Triomphe) -
Goya's Fantastic Vision of Madness
Michel Foucault (1926-1984) Francisco de Goya, Citadel on a Rock, oil on canvas, unknown date. Romanticism vs. Classicism Madness vs. Reason Passion>>>Madness Goya. A Man Mocked, Disparates, etching, 1815-1817 Goya. Plague Hospital, oil on canvas, 1798-1800 Henry Fuseli, Odysseus Between Scylla and Charybdis, Theodore Gericault, Insane Woman, oil on canvas, 1794-96 oil on canvas, 1822. Grotesque vs. Fantastical Goya, Saturn Devouring One of His Children, mural, 1819-1823 Fantastical 1. Transcending nature 1. Conflating confinement and refuge 3. Blending imaginary and real Goya. Fantastic Vision, mural, 1819-1823 Goya, The St. Isidore Pilgrimage (Quinto del Sordo), mural, 1820-1823 Layout of Black Paintings Goya, Half-Submerged Dog, mural, 1819- 1823 (x-ray version on left.) Compare: Bibliography Athanassoglou-Kallmyer, Nina. "Romanticism: Breaking the Cannon." Art Journal 52, no. 2 (1993): 18-21. Bozal, Valeriano. Goya: Black Paintings. 2nd ed. Madrid: Fundación Amigos del Museo del Prado, 1999. Canton, Francisco Javier Sanchez. Goya and the Black Paintings. Paolo Lecaldano, 76-98. Milan: Faber & Faber, 1963. Ciofalo, John J. "Goya's Enlightenment Protagonist: A Quixotic Dreamer of Reason." Eighteenth-Century Studies 30, no. 4 (1997): 421-436. Doctor, Asunción Fernández, and Antonio Seva Díaz. Goya y la locura. Zaragosa, Spain: Janssen-Cilagn, 2000. Fingesten, Peter. "Delimitating the Concept of the Grotesque." The Journal of Aesthetics and Art Criticism 42, no. 4 (1984): 419-426. Foucault, Michel. Madness and Civilization: A History of Insanity in the Age of Reason. Translated by Richard Howard. New York: Vintage Books, 1988. Francisco, Samantha. Francisco Goya and the Economy of Madness. New York: State University of New York at Binghamton, 1998. -
Goya Sü Tiempo, So Vida, Sus Obras
MUSEO NACIONAL DE ARTE CONTEMPORÁNEO Ml/sSE O NACIONAL DE ARTE CONTEMPORÁNEO BIBLIOTECA JBÍ0804N COYA SU TIEMPO, Sü VIDA, SUS OBRAS POR EL CONDE DE LA VINAZA Correspondiente de las Reales Academias de Bellas Artes de San Fernando y de la Historia MADRID TIPOGRAFÍA DE MANUEL G. HERNÁNDEZ IMPRESOR DE LA REAL CASA Libertad, 16 duplicado 1887 GOYA SU TIEMPO, SU VIDA, SUS OBRAS GOYA Sü TIEMPO, SO VIDA, SUS OBRAS POR EL CONDE DE LA VINAZA Correspondiente de las Reales Academias de Bellas Artes de San Fernando y de la Historia Doctor en Filosofía y Letras MADRID TIPOGRAFÍA DE MANUEL G. HERNÁNDEZ IMPRESOR DE LA REAL CASA Libertad, 16 duplicado -,1887 í LA REAL ACADEMIA DE BELLAS ARTES DE SAI LUIS DE ZARAGOZA Su individuo de numere Q,. 3t ©Otéele de- t& ^WUXKCb PREFACIO RÍTICOS ilustres y eruditos de selecta y profundísima lectura han narrado la vida y estudiado las obras de D. Francisco Goya." Desde los elogios que le tributó Ceáñ Bermúdez hasta la ilustración al re• trato de Munarriz, debida á la docta pluma del Sr. Tubino, es considerable el número de páginas á que ha servido de asunto el pintor de Fuendetodos. Francia inauguró en el "Magassín pittores- que" (i) la serie de artículos y de libros que han (i) 1834, pág. 324. (Artículo ilustrado con la reproducción grabada malamente en madera del retrato de Goya, que va al frante de los c Capri• chos,} y dos láminas de esta colección.) / 2 motivado las creaciones del pintor aragonés. Los grabados han sido el objeto de preferente estudio al otro lado del Pirineo, y la extensa monografía que en 1877 publicó Mr. -
Goya, Ortega, and Martãłn-Santos: Intertexts
Inti: Revista de literatura hispánica Number 40 The Configuration of Feminist Criticism and Theoretical Practices in Hispanic Literary Article 12 Studies 1994 Goya, Ortega, and Martín-Santos: Intertexts Marcia Welles Follow this and additional works at: https://digitalcommons.providence.edu/inti Part of the Fiction Commons, Latin American Literature Commons, Modern Literature Commons, and the Poetry Commons Citas recomendadas Welles, Marcia (Otoño-Primavera 1994) "Goya, Ortega, and Martín-Santos: Intertexts," Inti: Revista de literatura hispánica: No. 40, Article 12. Available at: https://digitalcommons.providence.edu/inti/vol1/iss40/12 This Estudio is brought to you for free and open access by DigitalCommons@Providence. It has been accepted for inclusion in Inti: Revista de literatura hispánica by an authorized editor of DigitalCommons@Providence. For more information, please contact [email protected]. GOYA, ORTEGA, AND MARTIN-SANTOS: INTERTEXTS Marcia Welles Barnard College Fig. 1. El aquelarre (The Witches' Sabbath) 1797-98, Madrid: Lázaro Galdiano Museum.1 154 INTI N° 40-41 In a scene of central importance in Martin-Santos's Tiempo de silencio, Goya's painting, El aquelarre (the Witches' Sabbath), provokes a negative assessment of Ortega y Gasset. It is my contention that the pictorial narrative is not merely a prop for the main scene of conflict: it is a full-fledged, though silent, dramatis personae, affecting both the dialogue and dialectic of the polemic. The painting functions at two levels. At the primary level of narration, it is literally and quite explicitly an interext, the intermediary through which Martín-Santos lays bare the weakness of the philosopher; at the secondary level of narration, the painting in turn ironically exposes a concealed subtext in Martin-Santos's own fiction.