Goya and artworks

Jp. A. Calosse

Description

Goya is perhaps the most approachable of painters. His art, like his life, is an open book. He concealed nothing from his contemporaries, and offered his art to them with the same frankness. The entrance to his world is not barricaded with technical difficulties. He proved that if a man has the capacity to live and multiply his experiences, to fight and work, he can produce great art without classical decorum and traditional respectability. He was born in 1746, in Fuendetodos, a small mountain village of a hundred inhabitants. As a child he worked in the fields with his two brothers and his sister until his talent for drawing put an end to his misery. At fourteen, supported by a wealthy patron, he went to Saragossa to study with a court painter and later, when he was nineteen, on to Madrid. Up to his thirty-seventh year, if we leave out of account the tapestry cartoons of unheralded decorative quality and five small pictures, Goya painted nothing of any significance, but once in control of his refractory powers, he produced masterpieces with the speed of Rubens. His court appointment was followed by a decade of incessant activity – years of painting and scandal, with intervals of bad health. Goya’s etchings demonstrate a draughtsmanship of the first rank. In paint, like Velázquez, he is more or less dependent on the model, but not in the detached fashion of the expert in still-life. If a woman was ugly, he made her a despicable horror; if she was alluring, he dramatised her charm. He preferred to finish his portraits at one sitting and was a tyrant with his models. Like Velázquez, he concentrated on faces, but he drew his heads cunningly, and constructed them out of tones of transparent greys. Monstrous forms inhabit his black-and-white world: these are his most profoundly deliberated productions. His fantastic figures, as he called them, fill us with a sense of ignoble joy, aggravate our devilish instincts and delight us with the uncharitable ecstasies of destruction. His genius attained its highest point in his etchings on the horrors of war. When placed beside the work of Goya, other pictures of war pale into sentimental studies of cruelty. He avoided the scattered action of the battlefield, and confined himself to isolated scenes of butchery. Nowhere else did he display such mastery of form and movement, such dramatic gestures and appalling effects of light and darkness. In all directions Goya renewed and innovated.

Sujets

• Spanish
• Realism
• Painting
• Art
• Los caprichos
• Painter
• Court painter
• Caprichos
• Modern art
• Francisco Goya
• Artist
• Master
• Goya
• Peinture

Informations

• Publié par: Parkstone International
• Date de parution: 04 juillet 2023
• Nombre de lectures: 0
• EAN13: 9781781608210
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Jp. A. Calosse




GOYA
and artworks

(1746-1828)
© 2022, Confidential Concepts, Worldwide, USA
© 2022, Parkstone Press USA, New York
© Image-Bar www.image-bar.com
All rights reserved. No part of this may be reproduced or adapted without the permission of the copyright holder, throughout the world.
Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-78160-821-0
Contents
Biography
List of Illustrations
A
A Village Procession
Adoration of the Name of God by Angels
Agony in the Garden
Andalusian Dancer and a Guitarist
Autumn (The Vintage)
B
Banderillas de fuego (Banderillas of Fire)
Bellos Consejos (Nice Teachings)
Betrothal of the Virgin
Blind Man’s Buff
Bruja poderosa que por ydropica… (Mighty witch who because of her dropsy is taken for an outing by the best fliers…)
C
Cannibals Gazing at Their Victims
Cannibals Preparing Their Victims
Caricatura Alegre (Merry Caricature)
Caridad (Charity)
Charles IV
Clothed Maja
Countess-Duchess of Benavente
D
Dancing by the River Manzanares
Desgracias acaecidas en el tendido de la plaza de Madrid, y muerte del alcalde de Torrejón (Unfortunate events in the front seats of the ring Of Madrid and the death of the Mayor of Torrejon)
Dibersión en España (Entertainment in Spain)
Disasters of War
Divina Libertad (Divine Liberty)
Don Manuel Godoy as Commander in the “War of the Oranges”
Don Manuel Osorio Manrique de Zuñiga
Doña Isabel de Porcel
Duchess of Alba
Duchess of Alba
E
El célebre Fernando del Toro barilarguero, Obligando à la fiera con su garrocha (The celebrated Fernando del Toro draws the fierce beast with his pike)
El Maragato Points a Gun at Friar Pedro
El sueño de la razon produce monstruos (The Sleep of Reason Produces Monsters)
F
Fantastic Vision or Asmodea
Farnese Hercules
Ferdinand VII
Francisca Sabasa y García
Friar Pedro Fires on El Maragato
Friar Pedro of Zalvidia Binds Maragato Hand and Foot
Friar Pedro of Zalvidia Diverts El Maragato’s Gun
Friar Pedro Strikes El Maragato
Friar Playing the Guitar
G
Gaspar Melchor de Jovellanos
General Nicolas Guye
Goya Treated by Arrieta
H
Highwaymen Attacking a Coach
Hunter Loading His Gun
Hunter with His Dog
Hunter with His Dog Bringing back a Rabbit
Hunter with His Dog, Waiting
I
Inquisition Scene
J
Judith
L
La Leocadia
La Novillada
Las Gigantillas (Little Giants)
Last Communion of St Joseph of Calasanz
Lo peor es pedir (The Worst is to Beg)
M
Majas at Balcony
Maria Luisa
Maria Teresa de Bourbon
Marquisa of Santa Cruz
Mary, Queen of Martyrs
Máscaras Crueles (Cruel Masks)
Milk Girl from Bordeaux
Miracle of St Anthony of Padua
N
No se puede mirar (This is too painful to look at!)
Nude Maja
P
Pilgrimage to San Isidro
Portrait of Charles III in Hunting Costume
Portrait of Josefa Bayeu (?)
Portrait of Mariano Goya
Portrait of Martin Zapater
Portrait of the Count of Floridablanca and Goya
Prince Balthasar Carlos
Promenade of the Holy Office
Q
Que crueldad! (What Cruelty!)
Que se la llevaron! (And They Kidnapped Him!)
Que se rompe la cuerda! (May the Rope Break!)
S
Saints Justa and Rufina
Saturn Devouring His Children
Second of May 1808
Self-Portrait
Self-Portrait
Self-Portrait
Sleeping Woman
Spring (The Flowergirls)
St Ambrose
St Bernardino of Siena Preaching before Alonso V of Aragon
St Francis Borgia Exorcising
Struggle between Friar Pedro and Maragato
Summer (Harvesting)
T
Temeridad de Martincho en la plaza de Zaragoza (The bullfighter Martincho performing a daredevil feat in the Saragosse ring)
The Big Goat
The Bullfight
The Colossus
The Countess of Chinchon
The Crucifixion
The Dog
The Family of Charles IV
The Family of the Infante Don Luis
The Forge
The Grinder
The Marquesa de Pontejos
The Marquesa of Solana
The Meadow of San Isidro
The Meadow of San Isidro (detail)
The Parasol
The Picnic
The Straw Mannequin
The Swing
The Water Carrier
The Wedding
The Witches’ Sabbath
Third of May 1808
Two Foreigners
Two Old Men
U
Use of a Pulley
W
Winter (The Snow Tempest)
Wounded Mason
Y
Y non hai remedio (This is Worse)
Yard with Lunatics
You, Who Cannot Do It
Young Woman Bathing in a Fountain
“The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.”
– Goya
Self-Portrait
1815. Oil on panel, 51 x 46 cm, Royal Academy of San Fernando, Madrid.
Biography
1746:
Francisco Goya y Lucientes is born in Fuendetodos near Sargasso, Spain. His parents were members of the rural nobility and his father was a guilder.