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Artykuły w czasopismach na temat "Goya, Francisco, 1746-1828 – Fiction"
Buckley, Peter J. "Francisco José de Goya y Lucientes, 1746–1828". American Journal of Psychiatry 166, nr 3 (marzec 2009): 292. http://dx.doi.org/10.1176/appi.ajp.2008.08081273.
Pełny tekst źródłaWholden, Rosalind G. "About the Artist: Francisco Goya y Lucientes (1746–1828)". Psychological Perspectives 57, nr 3 (3.07.2014): 246–47. http://dx.doi.org/10.1080/00332925.2014.936217.
Pełny tekst źródłaPotter, Polyxeni. "Francisco José de Goya y Lucientes (1746–1828). Cat Fight (1786–1788)." Emerging Infectious Diseases 9, nr 11 (listopad 2003): 1506–7. http://dx.doi.org/10.3201/eid0911.ac0911.
Pełny tekst źródłaFianco, Francisco. "GOYA E A MELANCOLIA: Prenúncios da decepção com o Iluminismo". Art&Sensorium 4, nr 2 (19.12.2017): 159–70. http://dx.doi.org/10.33871/23580437.2017.4.2.159-170.
Pełny tekst źródłaPalacios-Sánchez, Leonardo, Angela María Rodríguez-Ucrós i Juan Camilo Hernández-Pabón. "Francisco de Goya y Lucientes: Genio y neuropsicopatología". Medicina 43, nr 2 (19.07.2021): 318–25. http://dx.doi.org/10.56050/01205498.1610.
Pełny tekst źródłaPotter, Polyxeni. "Francisco José de Goya y Lucientes (1746–1828). Self-portrait with Doctor Arrieta (1820)." Emerging Infectious Diseases 10, nr 5 (maj 2004): 974. http://dx.doi.org/10.3201/eid1005.ac1005.
Pełny tekst źródłaLevchenko, Illia, Oleksandra Kotliar i Stefaniia Demchuk. "Idea of common good (el bien general) in the series of etchings “The Disasters of War” (“Los Desastres de la Guerra”) by Francisco Goya (based on the Bohdan and Varvara Khanenko Museum of Art funds)". Text and Image: Essential Problems in Art History, nr 1 (2019): 50–60. http://dx.doi.org/10.17721/2519-4801.2019.1.03.
Pełny tekst źródłaCipriani, Gabriele, Luca Cipriani, Lucia Picchi i Mario Di Fiorino. "Art is long, life is short. Francisco José de Goya y Lucientes (1746–1828), the suffering artist". Medical Hypotheses 117 (sierpień 2018): 16–20. http://dx.doi.org/10.1016/j.mehy.2018.05.017.
Pełny tekst źródłaSymmons, Sarah. "Sacks, giants, owls, cats: It's a mad world in the graphic art of Francisco de Goya (1746–1828)". Forensic Science International: Mind and Law 2 (listopad 2021): 100061. http://dx.doi.org/10.1016/j.fsiml.2021.100061.
Pełny tekst źródłaMachado Blandón, Jorge Andrés. "Estética de lo siniestro en la obra de Goya". Escritos 29, nr 63 (2021): 287–306. http://dx.doi.org/10.18566/escr.v29n63.a06.
Pełny tekst źródłaRozprawy doktorskie na temat "Goya, Francisco, 1746-1828 – Fiction"
Ralls, Warren John. "An investigation into the enlightenment and aspects of Spanish life which may have influenced Los Caprichos (1797-1799) of Francisco de Goya (1746-1828)". Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002217.
Pełny tekst źródłaBird, Wendy. "The carnivalesque in the work of Francisco Jose de Goya y Lucientes (1746-1828)". Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299044.
Pełny tekst źródłaMontoya, Corinne. "Des rêves de raison, déraisons du rêve : l'écriture spéculaire dans l'oeuvre gravé de Goya". Dijon, 1996. http://www.theses.fr/1996DIJOL027.
Pełny tekst źródłaGoya's etchings do not seem familiar to critics or to the general public who have always preferred his oil paintings. Captious written by Goya himself are to be found on most of his engravings and the relation ship between image and text throws a useful light on the artist's satirical starcethe present study aims at demonstrating the close links between the various series of etchings : the caprices, the disasters of war, bullfighting and the disparates in chronological order - they were conceived and organized according to a mirror-like logic which is at work both throughout all the engravings and within each series and which takes the torm of a continuous play between the real image (spanish society at the end of the enlightment, the war of independence. . . ) And the virtual image (games, the carnaval, witchcraft. . . ) centred around key-etchings (like "the dream of reason produces monsters", caprice 1, for instance) an accordance with the socio-critical approach, I have first chosen to identity the linguistic signs to be toward in the captious and in the imagery of these drawings, then I have studied their frequency, their occurrence and their place in the various series of engravings with a view not only to reaching an over understanding of the etchings compared to the other means of expression used by Goya but also to understanding each series independently by emphasizing the cultural texts underlying Goya's work
Araya, Arenas Felipe. "Goya: anatomía de una época en crisis". Tesis, Universidad de Chile, 2004. http://repositorio.uchile.cl/handle/2250/145039.
Pełny tekst źródłaOliveira, Sandra Regina Marin de [UNESP]. "A representação do feio na arte: um breve estudo sobre quatro gravuras de Francisco Goya". Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/86890.
Pełny tekst źródłaA presente dissertação aborda o conceito de Grotesco na Estética e na História da Arte, analisados sob dois aspectos principais: da forma como esse conceito foi transformado desde a época da Grécia Antiga até o século XIX (período de grandes mudanças formais da representação humana nas Artes) e do exemplo do artista Francisco de Goya, através de sua série de gravuras Los Desastres de la Guerra, composta por imagens violentas; grotescas, híbridas e trágicas, que refletem esteticamente o horror advindo da Guerra de Independência e do retorno de um Estado Monárquico e Absoluto. Nossa pesquisa tem por meta avaliar as mudanças políticas, sociais e culturais que influenciaram a transformação desses conceitos estéticos e a aceitação desses novos paradigmas que resultaram numa mudança de visão e fruição da própria Arte entre os séculos XVII e XIX (época de ascensão do Liberalismo e Iluminismo), mostrando como os acontecimentos históricos podem transformar os conceitos artísticos de acordo com as necessidades humanas de retratar seu próprio tempo. Os procedimentos metodológicos foram de revisão bibliográfica parcial sobre as questões do Grotesco na Arte e uma pesquisa sobre a vida e obra de Goya, utilizando as imagens acima citadas, que aqui são analisadas do ponto de vista iconológico
The current dissertation accosts the concept of “Grotesque” in Aesthetics and history of Arts analysed under two main aspects: the way this concept was transformed since the times of Ancient Greece until the nineteenth century ( a period of great formal changes of the human representation and other pictorial genres, and the example of the artist Francisco de Goya through his series of etchings The Disasters of War, composed by violent, hybrid and tragic images, which reflect aestheticly the horrors resulted from the War of Independence and the return of a Monarchic and Absolutist State. Our research objectives have the aim of appraising political, social and cultural factors that influenced the processing and acceptance of new paradigms such as the Grotesque in art making, that resulted in a change of vision and enjoyment of the Art itself between the seventeenth the nineteenth centuries (time of the rise of Liberalism and Iluminism), showing how this concept was transformed by artistic, cultural and historical events according to the Human needs of portraying their own time. The methodological procedures were of a partial bibliographical review about the issues of the Grotesque in art and a research of the life and work of Goya, using the prints cited before, which are here analysed from an iconological point of view
Guitry-Azam, Aurore. "Le songe de Goya : invention narrative et réflexion : rapports entre la littérature et l'image". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0437.
Pełny tekst źródłaA novel, Goya’s dream, is the « creative » part of this PHD. It fantasizes the dream of the painter Goya who believes he is in a remote village, the Mallos, and finds his true artistic vocation in this delirium. The engravings Los Caprichos inspired this phantasmagorical world.The academic dissertation first offers a reflection on the relationship between writing and those fascinating and distant images, far apart from today’s world: the conception of art, our sensitivity have evolved. Horror is no longer attached to vice, but to History or social exclusion. Then, three works are analysed: The Blind Owl by Sadegh Hedayat, an obsessive delirium on an image. Pierre Michon’s Dieu ne finit pas, or Goya between splendour and misery; and Rêves de Rêves by Antonio Tabucchi, a collection of made-up dreams. The three of them, just like Goya, write with images and play on reversibility while revealing various ideas on art far from the spirit of the Enlightenment which was also Goya’s. The genetics examination of the two unfinished projects which preceded Goya’s Dream, is joined to this analysis.This dissertation, based on the relationship between an original novel and Goya’s engravings, on the analysis of the work of other writers, and on the later reflection on unfinished projects, examines the relationship between fiction and image through critical analysis and practice
Vetter, Anna. "Les citations picturales dans l'écriture baroque du Siècle des lumières d'Alejo Carpentier". Besançon, 1999. http://www.theses.fr/1999BESA1015.
Pełny tekst źródłaKonstantelos, E. "Representing victimhood : an exploration of strategies for representing victimhood and inflicted terror in the works of Jacques Callot (c.1592-1635), Francisco José de Goya y Lucientes (1746-1828) and Honoré Daumier (1808-1879)". Thesis, University of Salford, 2013. http://usir.salford.ac.uk/29422/.
Pełny tekst źródłaStrignano, Julien. "L’imagerie ramonienne : intermédialité picturo-littéraire dans les récits brefs de Ramón Gómez de la Serna". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSES007.
Pełny tekst źródłaIn Ramón Gómez de la Serna’s case, prolific writer of the Spanish vanguard in the first half of the XX century, the place of the picture into his literary creation brings to consider various hypothesis about the picture-text interrelation modalities in his works. A new lighting is worth to see by the hints and references about image in a determinate corpus: the collections of short stories with Goya’s inspiration (Caprichos). The question about image inserted in Ramón Gómez de la Serna’s text is established according to several lines of study from explicit or implicit and complex integration of the original picture until the more simple illustration drawn by the writer himself.Those cases of image-text intermediality are explained first of all by a contextualization of Gómez de la Serna’s artistic way of life. Then, in a second time, the intermediatic experience through various process (stylistic and translation of the image origin, ekphrasis, art transposition…) promote the idea about the reality of an intermediatic system into the writer’s short stories. Finally, in some of stories collections (Gollerías, Trampantojos), we must analyze the root and the reach of the illustration by the author himself.Ramón Gómez de la Serna’s art practice suggest a new interpretation of his texts by considering engravings and paintings of a lot of artists like substrates that allow the image to enter in a determinated literary creation
Seyedin, Marjan. "L'animal et l'animalité dans l'art actuel : recherches sur les fondements et les aspects d'une idée". Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC001/document.
Pełny tekst źródłaBy taking into account the omnipresence of the animal in present art as a point of departure, our research seeks to conceive how the question of otherness, often explicitly articulated in the discourse of those contemporary artists who use the animal theme, has been put forward through it. In effect, since the romanticism and its successors have posed a real crisis to the modernity, the man, overwhelmed by melancholy and nostalgia of the past harmony and its lost unity, seeks to bridge the gap that separates her from the “Absolute.” It is in this endeavour of reconciliation that the animal as otherness holds an important position. Since the eighteenth century, the attention of the European man has turned to these forms of “others,” as the “wild,” the children and the animals. Then a new kind of relation has been developed between the Man and the Animal. Here we study this change of relation, inaugurated by Goya, and its descent into hell that queries the truth about Man. Afterwards we seek to understand how the attraction of “exoticism” among the romantics has been manifested, while gradually replaced by the question of “ethics,” that finally lead to a certain form of “animalism.”
Książki na temat "Goya, Francisco, 1746-1828 – Fiction"
Tomlinson, Janis A. Francisco Goya y Lucientes, 1746-1828. London: Phaidon, 1999.
Znajdź pełny tekst źródła1746-1828, Goya Francisco, red. Francisco Goya (1746-1828): Los caprichos. Chicago, Ill: R.S. Johnson Fine Art, 1992.
Znajdź pełny tekst źródłaGudiol, José. Francisco de Goya Y Lucientes. New York: Abrams, 1985.
Znajdź pełny tekst źródłatr, Hernani Miguel de, red. Goya. Buenos Aires: Vitae Ediciones, 2004.
Znajdź pełny tekst źródłaWaldron, Ann. Francisco Goya. New York: H.N. Abrams, 1992.
Znajdź pełny tekst źródłaWood, Alix. Francisco Goya. New York: Windmill Books, 2013.
Znajdź pełny tekst źródłaRudy, Chiappini, i Museo d'arte moderna (Lugano, Switzerland), red. Francisco Goya. Lugano [Switzerland]: Museo d'arte moderna, 1996.
Znajdź pełny tekst źródłaFullana, Francesc Mir. La enfermedad de Francisco de Goya: (1746-1828). Palma (España): José J. de Olañeta, Editor, 2021.
Znajdź pełny tekst źródłaStoichiţă, Victor Ieronim. Goya: The last carnival. London: Reaktion, 1999.
Znajdź pełny tekst źródłaHarris, Enriqueta. Goya. London: Phaidon Press, 1994.
Znajdź pełny tekst źródłaCzęści książek na temat "Goya, Francisco, 1746-1828 – Fiction"
Eitner, Lorenz. "Francisco José de Goya y Lucientes, 1746-1828". W An Outline of 19th Century European Painting, 55–73. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-3.
Pełny tekst źródła"14. Francisco de Goya (1746–1828). Der erste politische Maler der Moderne". W Eine andere Geschichte Spaniens, 287–306. Köln: Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525590.287.
Pełny tekst źródła"Non tenentes caput […]: Fe, razón y monstruos en Pedro de Valencia (1555–1620) y Francisco de Goya (1746–1828)". W Acta Conventus Neo-Latini Vindobonensis, 19–57. BRILL, 2018. http://dx.doi.org/10.1163/9789004361553_003.
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