Zacharie Astruc (1833–1907) was an important artist and art critic of the second half of the 19th century. This article presents new data on a facet that has not been widely known until now: the one ...related to his early appreciation of the value of Francisco de Goya's work, especially after the trip he made to Spain in 1864. Thanks to the study of his notebooks and drawings as well as various manuscripts preserved in the Archive du Musée d'Orsay (Paris), it has been possible to find out what works of Goya he contemplated in Spain and what his perception of them was. In his sketches he came to set two scenes in the Quinta del Sordo before the Black paintings were transferred onto canvas. Finally, thanks to the consultation of an auction catalogue of his collection, the article presents unpublished data on the role of Zacharie Astruc as a collector of Goya's works.
This article
1
deals with overlooked interactions between art history and colonial discourses within the context of tourism in Spain. It aims to demonstrate the central role played by temporalized ...narratives of otherness in tourist imaginaries about Spain during the 1950s and 1960s. It focusses on the use of art history as a visual filter through which certain aspects of the country were read and experienced as being stranded in the past, often leading to images of poverty becoming aestheticized. This analysis will throw light on how colonial discourses of temporality and authenticity, rather than ideas of modernization, influenced the international rehabilitation of the Franco dictatorship after the Second World War.
Resuming the conversation on Goya's oeuvre that took place in the special issue of Romance Quarterly in 2007, this article pays attention to Goya's Disasters of the War. Through a comparative reading ...of Goya's The Disasters of the War and the video-installation of Iranian artist Farideh Lashai's When I count..., this article proposes a notion of "adumbration" that shifts our understanding of Enlightenment as a narrative of power, progress and humanism founded on light. By way of theoretical reflections and drawing from Derrida and Nancy, this article shows how Goya and Lashai reflect with their works on the condition of exposition and disappearance of bodies on our age of global war and the commodification of the image. I propose "an Enlightenment as Adumbration" as a critical alternative to cultural critique based on Enlightenment logocentric categories such as progress, representation, or agency in Modern Iberian Studies.
Using Kenneth MacMillan's ballet The Invitation as a case study, this article focuses on the influence that cinema and painting exerted on his choreography. It examines how the visual imagery and ...techniques that came from the acknowledged audiovisual and pictorial sources of this ballet entered into his choreography. It also reveals that paintings by Francisco de Goya are highly probable, but previously unacknowledged, sources of the ballet. A final reflection considers the tableau vivant as a choreographic technique for an image-based effect.
Empathic Art: Goya and Dr. Arrieta Mathiasen, Helle, Cand mag, PhD
The American journal of medicine,
04/2008, Letnik:
121, Številka:
4
Journal Article
Recenzirano
Mathiasen features the empathic art, the last self-portrait painted by the Spanish artist Francisco Jose de Goya y Lucientes. In Goya's Self-Portrait with Dr. Arrieta, the empathy instructors are the ...artist's body and the body of his physician. The painting recalls the ex-voto artifacts that were customarily left next to saints' statues in Spanish churches, yet Goya offers his gift of gratitude not to a saint, but to a real-life curandero. Several observers have described the composition as a pieta. Referring to Christian iconography, Dr. Arrieta might thus be posed as Christ or the Virgin. Goya here illustrates the complex nature of empathy: the attitude encompasses both the medication in the glass and the healing touch, but also the silent, spiritual understanding flowing from the doctor to the patient.
Goya und Wien Hofmann, Werner
Artibus et historiae,
07/2010
62
Journal Article
In the spring of 1908 the Galerie Miethke showed the first retrospective of Goya in Vienna: eighteen paintings, more than fi fty drawings and the complete graphic works were united – unfortunately ...without a catalogue. This seminal event has not been noticed so far by the ‘Goya-Forschung’, and even Nigel Glendinning does not mention it in his famous Goya and his Critics. The only serious review of the exhibition was written by Ludwig Hevesi and published in the Wiener Fremdenblatt newspaper on 13 May. This exhibition had a strong impact on the artistic world, as I presume. This can be traced in the works of Kokoschka and Kubin, who both discovered the visual metaphors of suffering and distortion in the work of the great Spanish master, and used them as weapons against the saturated taste of the Imperial capital, known for easy-going life and superficial embellishments.Kokoschka’s art emerged from the refinement of the Secessionists (Klimt). In 1908 it left the secureness of stylization to proceed towards the realms suffering and mutilation. This is how Kokoschka renewed the meaning of religious themes, like the Pietà. Kubin, on the other hand, followed Goya into the abyss of human depravity and self-destruction. His universe was nothing but a sequence of variations on cruelty mixed with sadistic terror. These very aspects distinguished Austrian modernism from its German counterpart which was much less preoccupied with dark sides of human existence, and it is to these dimensions that Goya had opened the doors.
The disasters of war Waring, Belle; Fee, Elizabeth
American journal of public health (1971)
96, Številka:
1
Journal Article
Recenzirano
Odprti dostop
WHEN NAPOLEON'S TROOPS invaded Spain in 1808, the artist Francisco José de Goya y Lucientes (1746-1828) was over 60 years old and already known for his subversive paintings mocking political and ...religious hypocrisy.1 Napoleon's military campaigns always included teams of professional artists who painted heroic scenes of famous battles, following instructions from Napoleon's minister of the arts.2 At the same time, Goya was recording a very different face of war: the struggle of the Spanish people against the invaders and the many horrors of warfare. Of course, in this era before Florence Nightingale's reforms in the mid-19th century, there would have been no professional nurses to care for the wounded, who largely were left to care for each other. Belle Waring and Elizabeth Fee are with the History of Medicine Division, National Library of Medicine, National Institutes of Health, Bethesda, Md.
PDF
