Neoclassicism, Romanticism, Goya

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  • Rousseau y Voltaire
  • Pompeya
  • SM. p.361. Arterama, p.290.
  • SM. p.361. Arterama, p.290.
  • SM. p.361. Arterama, p.290.
  • Durante la Guerra Civil este cuadro, junto con otros del Museo del Prado , fue sacado de España y trasladado a Ginebra . En ese traslado se deterioraron algunos fragmentos, como puede observarse en las faltas cubiertas de marrón a la izquierda del cuadro. Se cuenta que el camión que transportaba el lienzo rozó un balcón, y dado que la pintura se trasladaba en su bastidor (no enrollada), sufrió el impacto y se desgarró. En 2008 las zonas afectadas fueron restauradas y las figuras desaparecidas reintegradas a la acuarela. [2]
  • Durante la Guerra Civil este cuadro, junto con otros del Museo del Prado , fue sacado de España y trasladado a Ginebra . En ese traslado se deterioraron algunos fragmentos, como puede observarse en las faltas cubiertas de marrón a la izquierda del cuadro. Se cuenta que el camión que transportaba el lienzo rozó un balcón, y dado que la pintura se trasladaba en su bastidor (no enrollada), sufrió el impacto y se desgarró. En 2008 las zonas afectadas fueron restauradas y las figuras desaparecidas reintegradas a la acuarela. [2]
  • Durante la Guerra Civil este cuadro, junto con otros del Museo del Prado , fue sacado de España y trasladado a Ginebra . En ese traslado se deterioraron algunos fragmentos, como puede observarse en las faltas cubiertas de marrón a la izquierda del cuadro. Se cuenta que el camión que transportaba el lienzo rozó un balcón, y dado que la pintura se trasladaba en su bastidor (no enrollada), sufrió el impacto y se desgarró. En 2008 las zonas afectadas fueron restauradas y las figuras desaparecidas reintegradas a la acuarela. [2]
  • MIRAR TEXTO WORD.
  • En el examen puedo poner la pintura de los fusilamientos y una pregunta relativa a estos dos cuadros.
  • Observa las diferencias de estas pinturas y di cuáles son sus diferencias.
  • Neoclassicism, Romanticism, Goya

    1. 1. NEOCLASSICISM &ROMANTICISM
    2. 2. NEOCLASSICISM XVIII changes:  Population growth.  Industrial Revolution.  Middle classes growth. Enlightment (Age of Reason)and its ideas.
    3. 3. Enlightment :  Science and intellectual interchange vs Superstition, intolerance and abuses by church and state Art must have a social and moral purpose. Against the excess of Baroque (art for the church and royalty)
    4. 4.  The Enlightment and the Classic art: Greece and Rome (again)  Pompei and Herculaneum are rediscoverd.  First archaeological works in Greece.
    5. 5. NEOCLASSIC ARCHITECTUREClassical architecture is the model to copy
    6. 6.  Geometric volumes and floor plants. It’s a new Renaissance.  The classic temple and its elements are used in churches, public buildings…
    7. 7.  Public buildings  Museums  Libraries.  Theaters.  Political buildings: Parliaments, Arches of Triumph
    8. 8. ROMANTICISM Partly a reaction to the Industrial Revolution Also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature aprox. 1800 - 1840
    9. 9. ROMANTICISM EMOTION the authentic source of aesthetic experience. Untamed nature Classical ruins A revived medievalism gothic Landscape paintings
    10. 10. Francisco de Goya y Lucientes
    11. 11. Francisco de Goya y Lucientes• Spanish Romantic painter.• The last of the Old Masters and the first of the modern ones.• Court painter to the Spanish Crown.• His works are a mirror of his era.• His revolutionary and imaginative art and his bold handling of paint,provided a model for the work of later generations of artists.
    12. 12. Early life• Was born in Aragón in 1746•At age 14, Goya entered apprenticeship with the painter JoséLuzán in Zaragoza• in Madrid where he studied with Anton Raphael Mengs, apainter who was popular with Spanish royalty.• Back in Zaragoza and painted parts of the cupolas of the Basilicaof the Pillar and the frescoes of San Antonio de la Florida
    13. 13. In his first paintings displays the stereotypes of Late Baroque Catholic religious art
    14. 14. The Frescoes in the Cartuja de Aula Dei (1774) are a cycle of frescoes or mural paintings onthe Life of the Virgin, realised in secco (i.e., painted in oils directly onto the wall surface)
    15. 15. He studied with Francisco Bayeu and married his daugther member of the Royal Academy of Fine Arthelped Goya to procure work as a painter of designs to be woven by RoyalTapestry Factory
    16. 16. Tapestries• He designed about 42patterns; many of them wereused to decorate and insulatethe stone walls of El Escorialand the Palacio Real delPardo.
    17. 17. In these first works: •Color and light •Armonic compositionsEl quitasol
    18. 18. El pelele
    19. 19. La boda
    20. 20. El cacharrero
    21. 21. La nevada
    22. 22. La gallina ciega
    23. 23. El columpio
    24. 24. La vendimia
    25. 25. El bebedor
    26. 26. Baile en el Manzanares
    27. 27. La maja y los embozados
    28. 28. La cometa
    29. 29. El verano
    30. 30. Las lavanderas
    31. 31. Los zancos
    32. 32. Las floreras
    33. 33. La novillada
    34. 34. El ciego de la guitarra
    35. 35. La merienda
    36. 36. Jugadores de naipes
    37. 37. La ermita de San Isidro
    38. 38. Muchachoscogiendo fruta
    39. 39. La feria de Madrid
    40. 40. Las mozas del cántaro
    41. 41.  1783. The Count of Floridablanca, a favorite of King Carlos III, commissioned Goya to paint his portrait. He also became friends with Crown Prince Don Luis, and spent two summers with him, painting portraits of both the Infante and his family. During the 1780s, his circle of patrons grew to include the King and other notable people of the kingdom. 1786. Goya was given a salaried position as painter to Carlos III. 1789. Goya became a court painter to Charles IV. 1799. Goya was appointed First Court Painter.
    42. 42. Goya’s deafness  Between 1792 and 1793, a serious illness, which exact nature is not known, left Goya deaf, and he became withdrawn and introspective. Gestures and facial expressions became vivid and images stayed in his mind
    43. 43. PORTRAITS
    44. 44. Fast brushstrokeQuasi - Impressionism
    45. 45. María Luisa de Parma.
    46. 46. La marquesa de Pontejos La duquesa de Alba
    47. 47. His portraits are notable because he did not worry to flatter, and in the case of Carlos IV of Spain and His Family, the lack of visual diplomacy is remarkable
    48. 48. King’s brother Don Luis. King’s sister king don Antonio Prince of doña María Josefa. Carlos IV Parma. GOYA Infanta María IsabelCarlos Carlos Fernando,María Luis the heir Queen MaríaIsidro Luisa Infanta Fernando’s King’s sister María future bride doña Carlota Luisa Infante Joaquina Francisco de Paula
    49. 49. Queen María Luisa was thought to have had the real power, which is why she is placed at the center of the group portrait
    50. 50. Gaspar Melchorde Jovellanos
    51. 51. The Duchess of Alba
    52. 52. The Duchess of Alba
    53. 53. Francisco Bayeu Count Fernán Núñez
    54. 54. Don Luis’ family
    55. 55. Duke of Osuna’s family
    56. 56. Goya. La Maja Desnuda 1799-1800óleo sobre lienzo, 97 x 190 cm Museo del Prado, Madrid
    57. 57. (La Maja Vestida) 1800-03óleo sobre lienzo, 97 x 190 cm Museo del Prado, Madrid
    58. 58. PATRIOTIC PAINTINGS 1 808 El dos de Mayo
    59. 59. In historic paintings action is more important than detail
    60. 60. Los fusilamientos del 3 de mayo
    61. 61. Manet. Execution of Emperor Maximilian. 1867.Picasso. Massacre in Korea 1951.
    62. 62. ("Deaf Mans House")
    63. 63. BLACK PAINTINGS El coloso 1808-1812. 116 x 105 cm. óleo sobre lienzo. Museo del Prado, Madrid.
    64. 64. Saturn eating his children
    65. 65. La romería de San Isidro (1821-1823)Aquelarre (1821-1823).
    66. 66. Black and grey paint
    67. 67. La pradera de San Isidro (1788).La romería de San Isidro (1821-1823)
    68. 68. DRAWINGS AND ENGRAVINGS El sueño de la razón produce monstruos.
    69. 69. Hasta su abuelo. Tu que no puedes.
    70. 70. Disasters of War (1810-1820) Esto es peor.
    71. 71. ¡Qué coraje!
    72. 72. Tampoco
    73. 73. La tauromaquia (1816) Bullfighting
    74. 74. Foolishness 1815-1823

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