Francisco de Goya: the genius of a chronicler

Francisco de Goya: the genius of a chronicler

The painting, like the poetry, chooses in the universal thing what he considers to be more suitable for its ends: it assembles in only one fantasy personage circumstances and characters that the nature offers distributed in diverse individuals; and of such a combination, learnedly arranged, it turns out to be a happy image for which a good maker acquires the title of creator and not of servile imitator.

Francisco de Goya (1746-1828)

The municipal room of exhibitions of the Museum of Passion of Valladolid will lodge, from December 2 until January 16, 200 engravings of Francisco de Goya, distributed in three finished series: the caprices, the disasters of the war and tauromachy. The exhibition, which title is “Goya, The genius of a chronicler. The disasters of the war, the caprices, the tauromachy”, it was presented in the same room by Javier León de la Riva (mayor of the city), Marisa Oropesa (police station of the sample), Hans Meinke (main maker of the exhibition and the director of the Collection Art) and Mercedes Cantalapiedra (councilman of Culture, Commerce and Tourism).

Francisco de Goya (1746 - 1828), as the mayor was indicating, he is an artist known all over the world. For that reason, the intention of this exhibition is not to discover the public a personage in abundance differed in all, but to end up at the particular interpretation that this virtuoso of the painting prepares in each of its engravings. Goya managed to capture with amazing clarity and bluntness the entrails of the Spanish society of the XVIIIth century and beginning of the XIXth. To define it or to frame it in a model or style is an arduous task and, perhaps, impossibly to realize if it tries to be simplified to a word. And the fact is that, Francisco de Goya did of everything, it included all the genres, from the portrait up to the scenery without leaving aside the customs of its epoch and touching also the warlike and social topics. Other one of its facets, which has special mention in this exhibition, is its wide aptitude to paint the portrait of the environment of its time, studying in depth the habits of the nations of then, freezing in its pictures the cruelties, virtues, defects and atrocities of the Century of the Lights that, in many cases, fit perfectly in the current conjuncture, redeeming thus a valuable exercise as chronicler and reporter who has already not only allowed us to understand its life, but that of the whole country in a concrete moment of the history.

In its intervention, Hans Meinke emphasized the enormous Goya transcendency, referring to its work like one of the most important of the art history and of the engraving, placing it at a height of artists as Durero or Rembrandt and highlighting that, over the course of time, there has not been another painter who has been to its height at the time of the society of the moment paints the portrait. Using of a similar one, Hans wanted to compare the series “the disasters of the war” with the photos of Vietnam that managed to paralyze the heart of the world. As anecdote, Hans told that the artist published its third series of pictures at the age of 70, unequivocal sign of the creative inspiration with which Francisco de Goya was provided until the end of its life. Marisa Oropesa for his part, emphasized the dedication of the author for discovering the clear vices of the epoch in the witchcraft and its brutal hunt, the prostitution or the Church. Also he underlined the facility of the artist to describe the nastiness of the human being personified in the war, considering Goya to be the first war reporter. Also, it affected in the innovative aspect of its work since, in a moment of classicism and realism, he broke with all the norms motivated, perhaps, by the horror of the war.

All the series that appear in the exhibition belong to the collection “Circle of art” in what undoubtedly it is an unbeatable opportunity to savor each of these engravings and the narrative spirit of its author.

EXHIBITION HALL THE PASSION

Cl Passion

47001 Valladolid

Schedule:

From Tuesday until Sundays and festive of 12:00 to 14:00 h and of 18:30 to 21:30 h on closed Monday.

Elías Apple tree Corona


Bookmark

Filed file: Exhibitions

Did he like this article? Subscribe to my RSS feed and to obtain more discharges!

Get Adobe Flash player
Francisco de Goya: the genius of a chronicler | Magazine Atticus

Francisco de Goya: the genius of a chronicler

Francisco de Goya: the genius of a chronicler

The painting, like the poetry, chooses in the universal thing what he considers to be more suitable for its ends: it assembles in only one fantasy personage circumstances and characters that the nature offers distributed in diverse individuals; and of such a combination, learnedly arranged, it turns out to be a happy image for which a good maker acquires the title of creator and not of servile imitator.

Francisco de Goya (1746-1828)

The municipal room of exhibitions of the Museum of Passion of Valladolid will lodge, from December 2 until January 16, 200 engravings of Francisco de Goya, distributed in three finished series: the caprices, the disasters of the war and tauromachy. The exhibition, which title is “Goya, The genius of a chronicler. The disasters of the war, the caprices, the tauromachy”, it was presented in the same room by Javier León de la Riva (mayor of the city), Marisa Oropesa (police station of the sample), Hans Meinke (main maker of the exhibition and the director of the Collection Art) and Mercedes Cantalapiedra (councilman of Culture, Commerce and Tourism).

Francisco de Goya (1746 - 1828), as the mayor was indicating, he is an artist known all over the world. For that reason, the intention of this exhibition is not to discover the public a personage in abundance differed in all, but to end up at the particular interpretation that this virtuoso of the painting prepares in each of its engravings. Goya managed to capture with amazing clarity and bluntness the entrails of the Spanish society of the XVIIIth century and beginning of the XIXth. To define it or to frame it in a model or style is an arduous task and, perhaps, impossibly to realize if it tries to be simplified to a word. And the fact is that, Francisco de Goya did of everything, it included all the genres, from the portrait up to the scenery without leaving aside the customs of its epoch and touching also the warlike and social topics. Other one of its facets, which has special mention in this exhibition, is its wide aptitude to paint the portrait of the environment of its time, studying in depth the habits of the nations of then, freezing in its pictures the cruelties, virtues, defects and atrocities of the Century of the Lights that, in many cases, fit perfectly in the current conjuncture, redeeming thus a valuable exercise as chronicler and reporter who has already not only allowed us to understand its life, but that of the whole country in a concrete moment of the history.

In its intervention, Hans Meinke emphasized the enormous Goya transcendency, referring to its work like one of the most important of the art history and of the engraving, placing it at a height of artists as Durero or Rembrandt and highlighting that, over the course of time, there has not been another painter who has been to its height at the time of the society of the moment paints the portrait. Using of a similar one, Hans wanted to compare the series “the disasters of the war” with the photos of Vietnam that managed to paralyze the heart of the world. As anecdote, Hans told that the artist published its third series of pictures at the age of 70, unequivocal sign of the creative inspiration with which Francisco de Goya was provided until the end of its life. Marisa Oropesa for his part, emphasized the dedication of the author for discovering the clear vices of the epoch in the witchcraft and its brutal hunt, the prostitution or the Church. Also he underlined the facility of the artist to describe the nastiness of the human being personified in the war, considering Goya to be the first war reporter. Also, it affected in the innovative aspect of its work since, in a moment of classicism and realism, he broke with all the norms motivated, perhaps, by the horror of the war.

All the series that appear in the exhibition belong to the collection “Circle of art” in what undoubtedly it is an unbeatable opportunity to savor each of these engravings and the narrative spirit of its author.

EXHIBITION HALL THE PASSION

Cl Passion

47001 Valladolid

Schedule:

From Tuesday until Sundays and festive of 12:00 to 14:00 h and of 18:30 to 21:30 h on closed Monday.

Elías Apple tree Corona


Bookmark

Filed file: Exhibitions

Did he like this article? Subscribe to my RSS feed and to obtain more discharges!

Get Adobe Flash player