Francisco José de Goya y Lucientes

Presentación del tema: "Francisco José de Goya y Lucientes"— Transcripción de la presentación:

1 Francisco José de Goya y Lucientes
Goya moved from jolly and lighthearted to deeply pessimistic and searching Until 1793 – slow rise to maturity 1793 – illness that left him deaf and released pent up creative forces within him 1808 – Napoleonic invasion and Goya’s responses to the war. 1819 – a second illness, he retires to the Quinta del Sordo, the Black Paintings

2 Sus obras variadas reflejaban los conflictos históricos durante su carrera.
The series of etchings Los desastres de la guerra ("The Disasters of War", ) records the horrors of the Napoleonic invasion. For the bold technique of his paintings, the haunting satire of his etchings, and his belief that the artist's vision is more important than tradition, Goya is often called "the first of the moderns." His uncompromising portrayal of his times marks the beginning of 19th-century realism. A serious illness in 1792 left Goya permanently deaf and he became increasingly occupied with the fantasies and inventions of his imagination and with critical and satirical observations of mankind. He evolved a bold, free new style close to caricature. In 1824, after the failure of an attempt to restore liberal government, Goya went into voluntary exile in Bordeaux (France), continuing to work until his death there in 1828.

3 Fue el pintor de la corte para el rey CarlosIV

4 El realismo del siglo 19

5 Le llamaron el primero de los artistas modernos
Goya Joan Miró

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7 Creía que la visión del artista era más importante que la tradición artística
On the left Saturn Devouring His Son (greek myth on this titan eating his children at birth for fear that they would overthrow him) = this is one of his black paintings One on the right is an etching from “los caprichos”

8 resumen de sus efectos al mundo artístico p.1
Se considera un maestro del romanticismo Anticipa la pintura contemporánea Romanticismo = movimiento artistico enfoque en los sentimientos y contra lo racional Became deaf in his late 40s after an illness

9 resumen de sus efectos al mundo artístico p2
Precursor de los artistas más inovadores del siglo XX Se enfermó y se volvió sordo. Se preocupó con fantasias y críticas de la sociedad.

10 Medios variados de pintar
pintura de caballete con óleo mural el grabado el dibujo Lienzo= canvas caballete = easel Grabado = etching

11 Etapas y temas de su arte
Los cartones de tapiz La religión La corte La política Los dibujos corrientes Las negras y las pesadillas

12 Los cartones para tapices
Goya dibujaba varios temas pastoriles. Los cartones para tapices Pastoriles????

13 Usaban los cuadros para coser los tapices.
Pelele Usaban los cuadros para coser los tapices.

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15 La Religión

16 Las Majas La Inquisición le interrogó para saber quien fue la mujer. Perdió su posición como pintor al rey. Nunca se conocía quien fue ella In 1815, the Spanish Inquisition summoned Goya to reveal who commissioned him to create the "obscene" La Maja Desnuda, and he was consequently stripped of his position as the Spanish court painter. If Goya gave an explanation of the painting's origin to the Inquisition, that account has never surfaced. -Maja (fem.) were terms for people from the lower classes of Spanish society, The term later became a more general word meaning "pretty" or "nice looking" (synonymous with bonito). This meaning survives in modern Spanish

17 En el Museo del Prado

18 Napoleón invadió a España y puso a su hermano José en el trono
Napoleón invadió a España y puso a su hermano José en el trono. Al pueblo español no le gustaba, y había una rebellón. Goya pintó lo que vio en las calles. The Second of May 1808, also known as The Charge of the Mamelukes, is a painting by Spaniard Francisco Goya, companion to The Third of May Painted in 1814 in the space of two months, today both are displayed in Madrid's Museo del Prado. The painting depicts a scene during the May 2nd Uprising in Madrid, at the Calle de Alcalá near Puerta del Sol. Goya witnessed first hand the French occupation of Spain in 1808, when Napoleon used the pretext of reinforcing his army in Portugal to seize the Spanish throne, leaving his brother Joseph in power. Attempts to remove members of the Spanish royal family from Madrid provoked a widespread rebellion. the people of Madrid rebelled against the occupation of the city by French troops. This popular uprising occurred between the second and third of May While the French occupiers hoped that their rapid suppression of the uprising would demonstrate their control of Spain, the rebellion actually gave considerable impetus to the resistance. In the weeks that followed there were further rebellions in different parts of the country. chaotic scene evokes realism or actuality. El dos de mayo

19 El tres de mayo In the work, Goya sought to commemorate Spanish resistance to Napoleon's armies during the occupation of Along with its companion piece of the same size, The Second of May 1808 (or The Charge of the Mamelukes), it was commissioned by the provisional government of Spain at Goya's suggestion. Executed from 1810 to 1820, the series depicts the travesties witnessed during Spain's struggle for independence from France. Unlike the Caprichos, this series was never published during Goya's lifetime, probably because of its pronounced indictment of war. One Can't Look ( ), an etching from the series, is a powerful and emotionally charged scene of French occupation and Spanish retaliation that recalls the painting The Third of May The innovative composition—critical elements are placed outside the picture plane and the immediate action is forced to the foreground—amplifies the overall impact. Although Goya's graphic work is grounded in the dramatic Baroque tradition of contrasting lights and darks, recalling Tiepolo's war scenes and Rembrandt's etchings, The Disasters of War etchings employ the tradition within a unique compositional framework.

20 El Maragato A veces Goya pintó un serie de dibujos como un cuento. Aquí se ve el del fraile y el ladrón El Maragato

21 La familia de Carlos IV Nota el artista al fondo. La familia es fuerte, unida y bien real. A la vez es naturalista e informal. The painting is simultaneously a depiction of a united, strong, and regal monarchy, and a shockingly naturalistic—in some cases even grotesque—group portrait What other painting does this remind you of?

22 La aristocracia La familia del infante don Luís El duque de Alba

23 La boda Los duques de Osuna y sus hijos

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25 Los jóvenes Los detalles revelan otra nivel de emoción
La inocencia se rompe ante el hambre del gato El niño murió, y se cree que Goya se lo pintó después que eso (porque el cinicismo del fin de inociencia pertenece más a un período más tarde).

26 Majas del balcón noten a los hombres escondidos por las sombras
Majas del balcón noten a los hombres escondidos por las sombras. Parece que no quieran ser reconocidos

27 Los grabados publicados en los periódicos

28 De “los caprichos” es una serie de 80 grabados del pintor español Francisco de Goya, que representa una sátira de la sociedad española de finales del siglo XVIII, sobre todo de la nobleza y del clero.

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30 Coloso cuando se volvió loco, se perdió en la mitología
Coloso cuando se volvió loco, se perdió en la mitología. Llegó a ser misogenista -aggressive

31 Ahorcado

32 La romería de San Isidro
“Pilgrimage to San Isidro” -era un mural

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34 (El Gran Cabrón/Aquelarre), Witches' Sabbath,

35 La Quinta del sordo the age of 72, Goya moved into a two-story house outside Madrid called Quinta del Sordo ("Deaf Man's Villa"). Although the house had been named after the previous owner, who was deaf, Goya was himself nearly totally deaf at the time as a result of an illness he suffered when 46. After the Napoleonic Wars and the internal turmoil of the changing Spanish government, Goya developed an embittered attitude towards man. He had a first hand and acute awareness of panic, terror, fear and hysteria. He had survived two near-fatal illnesses, and grew increasingly anxious and impatient in fear of relapse. These factors combined are thought to have led to his production of 14 works known collectively as the Black Paintings. inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas

36 Las catorce obras que se exhiben en esta muestra son las que originalmente aparecen en la Quinta del Sordo de Francisco de Goya. Ejecutadas al óleo directamente sobre la superficie de yeso de la pared de la casa de campo, fueron trasportadas al Museo del Prado a finales del siglo XIX. Se sabe que la Quinta del Sordo era una construcción rectangular de dos plantas, aunque los historiadores del arte desconocen el plano preciso de la vivienda. No obstante, la colocación relativa de las pinturas tal como se exhiben en esta muestra está de acuerdo con las investigaciones históricas. Las obras en las pantallas de "pared entera" se encuentra en proporción adecuada entre ellas en cuanto a tamaño, a una escala de 2 pixels = 1 centímetro.      Tecleando sobre las pinturas, puede verse cada una de ellas a tres diferentes niveles de detalle. Tecleando en el nivel superior le permitirá regresar a la vista de "pared entera". Puede teclear en las areas izquierda o derecha de la "pared entera" para girar a izquierda o derecha respectivamente. Teclee en las escaleras para subir a la planta superior. Para regresar a la página introductoria en cualquier momento, teclee sobre el logotipo "GOYA: las Pinturas Negras" en la parte inferior de la pantalla. They portray intense, haunting themes, reflective of the artist's fear of insanity, and his outlook on humanity. In 1819, at the age of 72, Goya moved into a two-story house outside Madrid called Quinta del Sordo ("Deaf Man's Villa").