Schulz examines a previously neglected aspect of "Los Caprichos": The depiction of the sense organs, particularly eyes and mouths. By considering Francisco Goya's representation of perception in ...relation to 18th century epistemology, he argues that this somatic iconography constitutes a fundamental component of the mechanics of satire in the prints.
When art, music,and poetry are integrated into the art room, children can confront difficult themes in works of art and process the information in highly personal ways (Jewitt & Kress, 2003). An arts ...classroom gives children the time and place to confront images of war and violence and decode the multiple levels of meaning (Arnold, 1997) found within them.
Whiteness and "The Canon" Oguibe, Olu
Art journal (New York. 1960),
12/2001, Letnik:
60, Številka:
4
Journal Article
Recenzirano
It is a great tragedy that all things in this society, including history, pedagogy, and the pursuit of knowledge, must struggle under the asphyxiating sludge of race, which is the legacy of the myth ...of whiteness. I grew up in a different society where color has no meaning outside the painter's palette, and my early training was such that I developed a healthy admiration for the work of artists as varied as Francisco de Goya, Gustave Courbet, Kathe Kollwitz, Charles White, Jacob Lawrence, and Ben Shahn, without consciousness of their color.
3
I also had considerable exposure to a history of world art without prejudice toward the contributions ofmy own culture to that heritage. I knew one language of art history; a race coding of that language would have appeared ludicrous.
However, having since taught in the academy on three continents, I must testify to the cogency of the issues that you raise. A cursory look at the curricula of art history programs across the United States quickly reveals a methodical blindness to all that is not rooted in Western civilization, which is as troubling as it is enduring. This predilection is as evident in course plans and program leanings as it is in faculty hiring practices and student recruitment. My experience was not entirely different in Britain. There is truth, therefore, to the notion of a race-specific pedagogical system and environment so suffused with "absences of vital presences" as to alienate those who may not find themselves or their backgrounds reflected.
4
This essay examines Francisco Goya's Saint Francis Borgia at the Deathbed of an Impenitent, 1788, in relation to late eighteenth-century aesthetic thought in Spain. Although modern scholarship has ...focused on the emergence of the supernatural in this work, a neglected contemporary analysis by Pedro de Silva, an adviser to the Madrid and Valencia royal academies, provides a point of departure for the examination of Goya's depiction of the dying sinner. Within this context, it is argued that the painting marks a significant crossroad in Goya's representation of the human figure.
Spain's Peninsular War brought a new, radical sensibility to Francisco Goya's perception of the violence spawned by the country's institutions. He sympathized with those who were degraded, especially ...women. Ciofalo critiques several of Goya's paintings, including "Pygmalion and Galatea."
The Mystery of Goya's "Saturn" Morgan, Jay Scott
New England review (1990),
07/2001, Letnik:
22, Številka:
3
Journal Article
The author describes Francisco de Goya's painting 'Saturn Devouring One of His Sons' and the effect the painting continues to have. Changes in historical perspective, origins of this myth, and the ...complex relationship between fathers and sons are discussed.
Burn it, Hide it, Flaunt it Tomlinson, Janis A.
Art journal (New York. 1960),
12/1/1991, 19911201, 1991-12-00, Letnik:
50, Številka:
4
Journal Article
Recenzirano
Style suggests that it was during the later 1790s that Francisco Goya painted a nude that has become known as the Naked Maja, or Maja desnuda, a paining first documented in the collection of Manuel ...Godoy in November 1800. I would here like to consider this painting: (fig. 1) in relation to a more general interest in things sexual hat manifests itself in a variety of ways in late-eighteenth-century Spain. These trends blossomed in opposition to attempts made by both the monarchy and the church to express certain themes-efforts that, not surprisingly, had the opposite effect of making these themes more appealing. The structure of my argument has been anticipated by Richard Terdiman's book. Discourse/Counter Discourse, in which he author examines works of nineteenth-century French Literature and art created to attack the hegemonic discourse of an increasingly bourgeois society, showing the extent to which such "counter-discourses" in fact participate in the lominant discourse.
2
I shall examine Goya's Maja desnuda and her clothed counterpart, the Maja restida (fig. 2). as an attempt to counter a dominant discourse that, in late-eighteenth-century Spain, protected itself through censorship. Coinciding with Terdiman. I will also illustrate the extent to which Goya's imagery was in fact influenced by the official censorial stance toward the female nude.
