By Victor I. Stoichita
This fascinating booklet on Goya concentrates at the ultimate years of the eighteenth century as a missed milestone in his life.Goya waited till 1799 to post his celebrated sequence of drawings, the Caprichos, which provided a private imaginative and prescient of the "world grew to become upside down". Victor I. Stoichita and Anna Maria Coderch examine how subject matters of Revolution and Carnival (both noticeable as inversions of the status quo) have been obsessions in Spanish tradition during this interval, and make provocative connections among the shut of the 1700s and the tip of the Millennium. specific emphasis is put on the artist's hyperlinks to the underground culture of the ugly, the gruesome and the violent. Goya's drawings, regarded as a private and mystery laboratory, are foregrounded in a research that still reinterprets his work and engravings within the cultural context of his time.
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Extra resources for Goya: The Last Carnival (Reaktion Books - Essays in Art and Culture)
Example text
A Latin inscription illuminates the scene and connects with the eyes of one of the girls who stares at the spectator. In this way, the latter is given to understand that there is a message in the painting that is of direct concern to the viewer: to give in to the charms of voluptuousness makes a man look ridiculous and strengthens the power of Lucas Cranach, Hercules and Omphale, 1537, beech wood. 12 women. It is interesting to note that while Cranach portrayed the burlesque feminization of man, he was rather more restrained and extremely respectful when it came to depicting the masculinization of woman, which ancient texts and the tradition of the 'world upside down', already in existence in Cranach's time, would have permitted him to stress.
S This tale of castration is all the more powerful as the hero is the very symbol of masculinity. '9 A small neo-Attic statuary group dating from the first century Be (illus. 11) shows the hero dressed in a chiton and wearing a woman's headdress that contrasts with his curly beard. In his left hand, he carries a distaff and in his right hand, a shuttle. 39 Omphale, on the other hand, is as naked as a Greek athlete of the same period. She puts a protective arm around the great hero, gazing tenderly at him as she clutches his club in her other hand.
27), it is so highly developed that we wonder who is mimicking whom.