The bulls of Francisco de Goya: 75 masterpieces

De José René Cruz Revueltas (Autor), Idbcom LLC (Editor)  Formato: Edición Kindle

SKU: B0B1XNM3MH Categorías: ,

Descripción

Goya was always, in addition to being a painter, a Spaniard, and fundamentally an Aragonese. He never despised his birthplace or his origin but rather showed, through his art, his knowledge of Spanish customs and traditions. His passion was Spain: his land, sun, and love. Goya could not banish his fondness for good wine, bulls, and women from his heart.
Bullfighting, art as Spanish as Spain itself, and Goyesque as Goya himself: light, beauty, aesthetics with the frame, and the possibility of grotesque death in a sadomasochistic act, which transforms joy into anguish, beauty into ugliness, life in pain and death.
The bulls are the Spanish national festival that could define Goya and Spain.
Spain was born from the triumph of absolutist Christianity over the Moors and the Jews. That grows with the wealth of its colonies. But with the establishment of the holy inquisition, he condemns his people to live under terror and suspicion. Wherever there is a desire and transgression, no matter how small, there is sin and the possibility of brutal punishment in this life or Hell.
After its initial greatness, Spain consumed itself. By the time of Goya, it had become the Spain of Don Quixote, Lazarillo de Tormes, and Buscón, where the good years were behind us. You have to defend yourself with everything to dream and survive.
In the festival of the bull, the Spanish people find a catharsis against an unequal, unjust, and corrupt world in which the decadent court lives in luxury, deceit, and lies.
In the Bulls, where there can be no lies because courage cannot be hidden, it faces beauty, art, and grace as equals with the most real truths we know: fear, pain, and death.
Goya was famous for his drunkenness, love affairs with maidens and married women, and a distinctive sign of his character, his fondness for bullfighting. He often signed his letters as “Francisco, the one with the bulls.”
As a young man, Goya tried to apply for a fellowship at the Royal Academy of Arts in Madrid, twice being turned down. Before him, there was room for those recommended from the larger provinces, mainly Andalusians and Castilians. And he, being an Aragonese with no influence at court, a stranger without work, a hillbilly and ignorant, despite his solid national roots, could not obtain any position. So, to survive, he secured a certain amount of money by fighting bulls in provincial arenas.
Now in his eighties, Goya continued to flaunt his erudition in bullfighting, bullfighters, and bullrings. He also boasted that he could still give the most colorful bull passes, which says much about his temperament and personality.
In the following pages, you will be able to observe Francisco de Goya’s 1816 publication of the 33 engravings in the series La Tauromaquia. These works were elaborated slowly, without a specific plan. You will also appreciate the works of the “Bulls of Bordeaux” series painted between 1824 and 1825 in the French city of Bordeaux.
Unlike ¨La Tauromaquia¨, these works reflect professional bullfights and the sets of well-known bullfighters. Together with the bullfighters, they reflect the collective brutalization of the masses. Goya also created several works with the theme of bullfighting.

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