Francisco Goya cytaty

Francisco Goya Fotografia
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Francisco Goya

Data urodzenia: 30. Marzec 1746
Data zgonu: 16. Kwiecień 1828
Natępne imiona:Francisco José de Goya y Lucientes,Francisco J. de Goya y Lucientes,E Lucientes Francisco José Goya

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Francisco José de Goya y Lucientes – hiszpański malarz, grafik i rysownik okresu romantyzmu, nadworny malarz Karola III Burbona, Karola IV Burbona i Ferdynanda VII Burbona, portrecista i malarz scen rodzajowych.

Kariera artystyczna Goi rozciąga się mniej więcej pomiędzy 1771, kiedy namalował swój pierwszy fresk w Bazylice del Pilar w Saragossie, a 1827, kiedy powstała jedna z jego ostatnich prac Mleczarka z Bordeaux. W ciągu ponad pół wieku jego pracy zawodowej powstało około 700 malowideł, 280 grafik i około tysiąca rysunków.

Pracując nad własnym, niepowtarzalnym stylem Goya ewoluował od baroku i rokoka, którymi przesiąknięte są jego pierwsze freski i projekty gobelinów, poprzez neoklasyczny akademizm aż do preromantyzmu i preimpresjonizmu widocznego w jego ostatnich pracach malarskich i grafikach. Efektem wyzwolenia się od klasycznych zasad i kulminacją artystycznego wyrazu jest seria czarnych obrazów. Poruszana przez niego tematyka jest bardzo szeroka, zaliczają się do niej: portrety, sceny rodzajowe , malarstwo historyczne, religijne i martwa natura.

W odniesieniu do liczby prac i ich jakości szczególnie istotna jest kolekcja zachowana w Muzeum Prado w Madrycie. Artysta jest również szeroko reprezentowany w różnych muzeach świata, zwłaszcza przez swoje portrety. Jego prace można oglądać w National Gallery w Londynie, Metropolitan Museum of Art w Nowym Jorku, Galerii Uffizi we Florencji, Starej Pinakotece w Monachium i wielu innych.

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Cytaty Francisco Goya

„Kiedy rozum śpi, budzą się potwory.“

— Francisco Goya
Kiedy rozum śpi, budzą się upiory.

„Imagination without reason produces impossible monsters; with reason, it becomes the mother of the arts, and the source of its marvels.“

— Francisco De Goya
quoted by Albert Frederick Calvert, in Goya; an account of his life and works; publisher London J. Lane, 1908; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, pp. 355-377 Goya wrote this inscription upon a later copy of the etching-plate Capricho no. 43

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„I am now Painter to the King with fifteen thousand reales [a year].... the King sent out an order to Bayeu and Maella to search out the best two painters that could be found, to paint the cartoons for tapestries. Bayeu proposed his brother, and Maella proposed me. Their advice was put before the king, and the favor was done, and I had no idea of what was happening to me.“

— Francisco De Goya
letter to his friend Don Martín Zapater [https://www.wikidata.org/wiki/Q3915977], June 1786; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 81 Goya was already forty then; the four painters should paint the designs of all the new tapestries for the royal palace; their designs were then woven in the Royal Tapestry Factory

„One to the other / Unos á otros' - Thus goes the world. We mock at and deceive each other. He who, yesterday, was the ball, is to-day the horseman in the ring. Fortune directs the feast, and distributes the parts according to the inconstancy of its caprice.“

— Francisco De Goya
title of Capricho no. 77 and Goya's inscription on this plate; from Paul Lefort, in Francisco Goya: etude biographique et critique, suivi de l'essai d'un catalogue raisonne de son oeuvre grave et lithographe; published in the 'Gazette des Beaux-Arts', February, 1867; April, 1867; February, 1868; April, 1868; August, 1868

„[the painting 'Yard with Lunatics' shows].. a yard with lunatics, and two of them fighting completely naked while their warder beats them, and others in sacks; (it is a scene I witnessed at first hand in Zaragoza).“

— Francisco De Goya
letter to his friend Bernardo de Iriarte, 7 Jan, 1794; as quoted by Jane Kromm, in The art of frenzy, 2002, p. 194 [https://en.wikipedia.org/wiki/Yard_with_Lunatics] The painting 'Yard with Lunatics' (Spanish: Corral de locos) is a small oil-on-tinplate painting completed by Goya between 1793 and 1794; Goya says here that the painting was informed by scenes of institutions he witnessed in his youth in Zaragoza

„To occupy my imagination, which has been depressed by dwelling on my misfortunes, and to compensate at least in part for some of the considerable expenses I have incurred, I set myself to painting a series of cabinet pictures.... they depict themes that cannot usually be dealt with in commissioned works, where 'capricho' [whim] and invention do not have much of a role to play. I thought of sending them to the academy..“

— Francisco De Goya
letter to his friend Bernardo de Iriarte, deputy of the Royal Academy of San Fernando in Madrid, Jan. 1794; as quoted in 'Goya and Iriarte', in Goya his Life and Work, P. Gassier and J. Wilson, 1971, p. 382 cabinet paintings were small portable paintings, which did not need a lot of wall-space and could be moved around at the owner's whim. Goya's famous series 'Caprichos' really begin after physical and probably mental breakdown in 1792. He was 46, and thereafter deaf until his death in 1828

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„Goya in gratitude to his friend Arrieta for the skill and great care with which he saved his [Goya's] life in his acute and dangerous illness, suffered at the end of 1819, at the age of seventy-tree years. He painted this in 1820.“

— Francisco De Goya
inscription by Goya, 1820 Goya painted this long inscription in 1820, - in the tradition of the ex-votos in the churches - in the double-portrait, [of his friend, and of Goya himself as the patient], he made of his doctor Eugenio Garciá Arrieta who helped him in 1819 with a severe illness

„My position is entirely different from what the majority of the public imagine... I want a great deal, firstly because my position entails expenditure, and secondly because I like it. Being a very well-known man I cannot reduce my expenses as other people do. I was about to ask for an increase of salary, but the conditions are so unfavorable that I must set the idea aside.“

— Francisco De Goya
letter to his friend Martín Zapater, [https://www.wikidata.org/wiki/Q3915977] and [https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg], February, 1790, from Francisco Zapater y Gomez: Goya; Noticias biograficas, Zaragoza, 1868, La Perse Verencia, p. 50 Goya is reacting on a request to borrow money, which arouses his quick protest

„Always lines, never forms. Where do they find these lines in Nature? Personally I see only forms that are lit up and forms that are not, planes that advance and planes that recede, relief and depth. My eye never sees outlines or particular features or details...... My brush should not see better than I do. [Goya, in a recall of an overheard conversation]“

— Francisco De Goya
conversation of c. 1808, in the earliest biography of Goya: Goya, by Laurent Matheron, Schulz et Thuillié, Paris 1858; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 176 probably not accurate word for word, but according to Robert Hughes it rings true in all essentials, of the old Goya, in exile

„As I am working for the public, I must continue to amuse them.“

— Francisco De Goya
letter to his friend Don Martín Zapater, c. 1784; taken from Francisco Zapater y Gomez : Goya; Noticias biograficas, Zaragoza, 1868, La Perseverencia, p. 58

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„But now? well now, now I have no fear of Witches, goblins, ghosts, thugs, Giants, ghouls, scallywags, etc, nor any sort of body.“

— Francisco De Goya
letter to his friend Don Martín Zapater [https://www.wikidata.org/wiki/Q3915977] and [https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg], Feb. 1784; as quoted in Goya, A life in Letters, edited and introduced by Sarah Simmons; translations by Philip Troutman, London, Pimlico, 2004 The reference to the occult and the world of demons, which then will populate the art of Goya during the 1800's, takes form in a couple of occasions Goya wrote to his friend Martín that he is a painter-demon. [http://letteraturaartistica.blogspot.nl/2015/09/goya-life-in-letters-edited-and.html]

„I haven't heard them [n. d. r. he's talking about some Spanish popular folk songs] and probably never shall because I no longer go to the places where one could hear them, for I have got into my head that I should maintain a certain presence and air for dignity.... that a man should have, and you can imagine that I'm not very happy about it.“

— Francisco De Goya
letter 206, c. 1787; in Goya, A life in Letters, edited and introduced by Sarah Simmons; transl. Philip Troutman, London, Pimlico, 2004 Goya understands that the social role he has reached (he is royal painter from 1789) will prevent him from attending places where people sing [http://letteraturaartistica.blogspot.nl/2015/09/goya-life-in-letters-edited-and.html]

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