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EDICIONES EL VISO 2021 40Th Anniversary EDICIONES EL VISO 2021 40th anniversary Goya Edition coordinated by Martin Schwander Spanish edition. 400 pages. 290 color illustrations 31 x 27.5 cm. Paper on board binding Fondation Beleyer and Ediciones El Viso, 2020 ISBN : 978-84-121550-6-8 [€55 ] The Beyeler Foundation, in conjunction with the Museo Nacional del Prado, has organised the most comprehensive exhibition of works by Francisco de Goya ( 1746–1828 ) ever presented outside Spain, and one of the most in-depth of all the shows on this artist. On this occasion, El Viso has published the Span- ish edition of the exhibition catalogue in conjunction with the Beyeler Foundation and the German publish- er Hatje-Cantz. This large-format book with almost 300 illustrations brings together essays by noted inter- national Goya experts : Andreas Beyer, Helmut C. Jacobs, Ioana Jimborean, José Manuel Matilla, Mark McDonald, Manuela B. Mena Marqués, Gudrun Maurer, Martin Schwander, Colm Tóibín and Bodo Vischer. Goya occupies an ambiguous position on the threshold of modernity : he is one of the last great masters in the European tradition of chamber painters while also being the creator of enigmatic, disturb- ing paintings which he made within an unheard-of sphere of artistic freedom that he himself created. In both the selection of works and their presentation, this volume aspires to refl ect the complex, ambiguous corpus of Goya’s output based on a selection of paintings, drawings and engravings. These works are presented under equal conditions, as the only way possible to appreciate the peerless wealth and diver- sity of the artistic universe of this artist, a brilliant and passionate defender of the autonomy and freedom of the creative spirit. La luz del mundo y la oscuridad Colm Tóibín En el verano de 1969, mientras la violencia se recrudecía Él pintaba con sus puños y codos, haciendo florecer en Irlanda del Norte, el poeta Seamus Heaney se encon- la corteza teñida de sangre de su corazón mientras la traba en Madrid. Igual que cualquier turista, acudió al historia cargaba.2 Prado, aunque no expresamente, como explicaría más tarde, «para estudiar ejemplos de arte en épocas de vio- Existen, quizá, dos formas de ver a Goya, que nació cerca lencia». No obstante, descubrió que algunas de las obras de Zaragoza en 1746 y falleció en el exilio, en Francia, en de Francisco de Goya que se exhibían «tenían la fuerza de 1828. En una primera versión, él es prácticamente ino- sucesos terribles […] Todo aquel espanto se mezcló cente, un artista serio y ambicioso al que le interesan la con el estado de ánimo de entre ligero pánico y leve júbilo mortalidad y la belleza, pero también lúdico y travieso, de aquel verano, cuando las cosas llegaron a un punto hasta que la política y la historia ensombrecen su imagi- crítico en Derry y Belfast». La obra de Goya le pareció nación. En esta versión, «la historia cargaba», pillaba «irresistible», y se sintió fascinado ante la idea de que a Goya por sorpresa y aguzaba su talento. En la segunda un artista abordara la violencia política «de frente»1. versión, es como si, en la mente de Goya se librara una En su poema «Summer 1969», escribiría sobre el tiempo guerra desde el mismo principio, de modo que, si bien que pasó en el calor de la capital española mientras le interesaban muchos temas, estaba ya preparado para Belfast ardía: la violencia y el caos, motivo por el cual, aunque no se hubiera producido la guerra entre las fuerzas francesas Me retiré al frescor del Prado. y españolas de 1808 a 1814 y el levantamiento de Madrid Los fusilamientos del tres de mayo de Goya de 1808, Goya habría encontrado alguna otra fuente de cubría una pared – con los brazos en alto inspiración para las sombrías y violentas imágenes y el espasmo del rebelde, los militares con que necesitaba crear. Su imaginación estaba lista para casco y mochila, la eficiente el horror. ráfaga de los fusiles… Es posible, en su caso, que la experiencia y la pura sed de experiencia corrieran parejas. A veces se liberaba Heaney concluye el poema con una imagen de Goya y entonces se interesaba únicamente por la mirada, el 1810-1812, óleo sobre lienzo, 181 × 125 cm. Lille, Palais des Beaux-Arts, P.50 trabajando: rostro, la textura de una prenda, el encanto de los demás. Pero las cosas se oscurecieron y se volvieron complejas. El Tiempo, Tiempo, El o Las viejas Las viejas 17 < Francisco de Goya, Gaspar Melchor de Jovellanos, 1798, [ 3 ] detail, Madrid, Museo Nacional del Prado Sargent. Sorolla les chefs-d’œuvre Obras maestras Blanca Pons-Sorolla Spanish and French editions. 224 pages. 113 color and Stephanie Herdrich 43 black and white illustrations. 24 x 28 cm. Clothbound Spanish edition. 224 pages. 150 color illustrations covered by French fold jacket 24 x 28 cm. Clothbound covered by French fold jacket Madrid, Ediciones El Viso, 2012 Madrid, Ediciones El Viso, 2017 ISBN Spanish 978-84-95241-95-5 [€42 ] ISBN : 978-84-947466-4-2 [ €42 ] ISBN French 978-84-95241-94-8 [€42 ] Sorolla. Sorolla. Cazando impresiones : Un jardín para pintar Jardines Sorolla en pequeño formato Edition coordinated by Consuelo Edition coordinated by Blanca Pons-Sorolla Blanca Pons-Sorolla. María López Luca de Tena Spanish edition. 152 pages. 120 color Fernández Spanish edition. 184 pages. 150 color illustrations. 24 x 28 cm. Clothbound Spanish edition. 136 pages. 230 color illustrations. 22 x 24 cm. Paperback binding covered by French fold jacket and 15 black and white illustrations with fl aps Madrid, Ediciones El Viso, 2018 17 x 24 cm. Paperback with fl aps Madrid, Fundación bancaria ” la Caixa ” ISBN : 978-0-8478-6648-9 [ €38 ] Madrid, Ediciones El Viso, 2019 and Ediciones El Viso, 2017 ISBN : 978-84-949629-7-4 [€25] ISBN : 978-84-946034-9-5 [€25 ] [ 4 ] Sorolla femenino plural Edition coordinated by Lorena Delgado Bellón and Consuelo Luca de Tena Spanish edition. 136 pages. 100 color illustrations 22.5 x 26 cm Paperback with fl aps Madrid, Ediciones El Viso, 2020 ISBN : 978-84-120969-9-6 [€28 ] 9 7 8 8 4 1 2 0 9 6 9 9 6 Women are spotlighted in this exhibition organised by the Sorolla Museum and the Bancaja Foundation. It presents some of the countless works by Joaquín Sorolla which refl ect everyday life and the stereotypes around it with the intention of posing a refl ection on the different images that the painter offers : the myth- ical woman, the femme fatale, the innocent, the working woman, the mother, the aristocratic and bourgeois woman, the modern woman… This entire oeuvre, which spotlights the artist’s particular vantage point, is accompanied in this cata- logue with four essays which delve into those aspects of Sorolla’s oeuvre within the context of the late 19th and early 20th centuries, when the feminine identity was taking shape with the advent of new models of women. Sorolla. Catalogue Raisonné. Museo Sorolla Edition coordinated by Blanca Pons-Sorolla Spanish and English editions. 560 pages. 1,300 color illustrations 24 x 30 cm. Paper on board binding Madrid, Ediciones el Viso, 2019 Spanish ISBN : 978-84-120107-8-7 [€120 ] English ISBN : 978-84-120107-9-4 [€120 ] Sorolla CATÁLOGO RAZONADO MUSEO SOROLLA Sorolla’s painting output encompasses 4,200 works in oil, water color and gouache. Blanca Pons-Sorolla has spent more than 3 decades recording, studying and systematically cataloguing this vast oeuvre and organising it into a chronological catalogue raisonné. Preliminary volume includes not only almost 1,300 paintings from the museum but also an exhaustive biographical timeline of the artist, a general updated bibliography on the painter, a list of his exhibitions and a methodological introduction on how his paintings were catalogued. Consequently, this will serve as the reference volume for the rest of Sorolla’s catalogue raisonné. [ 5 ] [ 6 ] Venice in Silence / Venezia nel Silenzio VENICE IN SILENCE Gaby Wagner Bilingual edition in english and italian 152 pages. 94 color illustrations. 28 x 37 cm Hardcover with cloth Madrid, Ediciones El Viso, 2020 English ISBN: 978-84-121550-2-0 [€60] Italian ISBN: 978-84-121550-1-3 [€60] 9 7 8 8 4 1 2 1 5 5 0 2 0 GABY WAGNER Gaby Wagner, author of this publication photographed Venice’s overwhelming beauty throughout the lockdown in Italy. The images show the liquid mirror of the canals, the glorious vision of architectural perfection and the colors enhanced by the incredible sun and deep blue sky . “At night, walking alone through the narrow streets hearing only the sound of my footsteps in this overwhelming silence, was so mysterious and out of another world. It has been a tremendous privi- lege to live in the emptyness, free of human beings, with all this beauty around and all to myself. It was the most incredible expirience of my life and the images and feelings will stay with me forever, hoping sincerely you will have the impression you have been there with me.” Gaby Wagner [ 7 ] The Sea in the Collections of the Museo del Prado Fernando Checa Cremades and others Bilingual edition, Spanish and English 216 pages. 106 color illustrations. 26 x 33 cm Paper on board binding Madrid, Ediciones El Viso, 2019 ISBN : 978-84-120107-6-3 [€58] The sea is a subject of painting. As an immense, fearsome domain beyond total human mastery, for artists the sea was more fantastical than real, the site of storms, shipwrecks and battles. It was also the myste- rious sphere where the actions of the gods, the feats of heroes and the miracles of the saints take place, stories worth painting.
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