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Artigos de revistas sobre o assunto "Goya, Francisco, 1746-1828 – Fiction"
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Buckley, Peter J. "Francisco José de Goya y Lucientes, 1746–1828". American Journal of Psychiatry 166, n.º 3 (março de 2009): 292. http://dx.doi.org/10.1176/appi.ajp.2008.08081273.
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Wholden, Rosalind G. "About the Artist: Francisco Goya y Lucientes (1746–1828)". Psychological Perspectives 57, n.º 3 (3 de julho de 2014): 246–47. http://dx.doi.org/10.1080/00332925.2014.936217.
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Potter, Polyxeni. "Francisco José de Goya y Lucientes (1746–1828). Cat Fight (1786–1788)." Emerging Infectious Diseases 9, n.º 11 (novembro de 2003): 1506–7. http://dx.doi.org/10.3201/eid0911.ac0911.
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Fianco, Francisco. "GOYA E A MELANCOLIA: Prenúncios da decepção com o Iluminismo". Art&Sensorium 4, n.º 2 (19 de dezembro de 2017): 159–70. http://dx.doi.org/10.33871/23580437.2017.4.2.159-170.
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Resumo: O presente texto tem como tema a representação imagética da Melancolia através de três obras específicas do pintor espanhol Francisco De Goya (1746-1828), a saber: La Cita, Saturno Devorando a su Hijo e El sueño de la Razón produce Monstruos. Nossa intenção principal é perceber de que maneira a Melancolia, percebida por Benjamin como decepção com o projeto racionalista do iluminismo no início do século XX, já estava presente como intuição no século XIX tanto como decepção barroca com o projeto humanista do Renascimento quanto como medo em relação às angústias causadas pelo mundo em transformação vivenciado pelo artista.Palavras-chave: Goya; Iluminismo; Melancolia; Saturno.
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Palacios-Sánchez, Leonardo, Angela María Rodríguez-Ucrós e Juan Camilo Hernández-Pabón. "Francisco de Goya y Lucientes: Genio y neuropsicopatología". Medicina 43, n.º 2 (19 de julho de 2021): 318–25. http://dx.doi.org/10.56050/01205498.1610.
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Francisco de Goya y Lucientes (1746-1828) fue uno de los más importantes artistas españoles de los siglos XVIII y XIX. Autor de más de 1.000 obras, merecedor de altos cargos en la corte del Rey Carlos IV, además de una extensa producción por encargo y como independiente. Llama la atención que al analizar sus obras de forma cronológica, se evidencian cambios notables al pasar de motivos de la vida cotidiana y la realeza europea a insólitas y misteriosas pinturas que reflejan ansiedad, y aluden a la muerte, la violencia y la fantasía. Desde el punto de vista neuropsiquiátrico se ha considerado el padecimiento de múltiples condiciones, entre ellas: neurosífilis, enfermedad cerebrovascular, intoxicación por mercurio, por plomo, o por quinina, enfermedad de Vogt-Koyanagi-Harada, depresión, síndrome de Cogan, malaria, encefalitis por sarampión, síndrome de Susac, y fiebre tifoidea. Se presenta una breve biografía y un análisis sobre las entidades previamente enunciadas.
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Potter, Polyxeni. "Francisco José de Goya y Lucientes (1746–1828). Self-portrait with Doctor Arrieta (1820)." Emerging Infectious Diseases 10, n.º 5 (maio de 2004): 974. http://dx.doi.org/10.3201/eid1005.ac1005.
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Levchenko, Illia, Oleksandra Kotliar e 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, n.º 1 (2019): 50–60. http://dx.doi.org/10.17721/2519-4801.2019.1.03.
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The ideas of the Enlightenment (first of all the French, with the most famous of its representatives – Jean-Jacques Rousseau, Charles-Louis de Secondat, Baron de La Brède et de Montesquieu and François-Marie Arouet Voltaire) not only influenced the political sphere of the Eighteenth century but also art. Francisco José de Goya y Lucientes (1746-1828) was directly convinced by these ideas: he took a passive part in the Napoleonic wars and was a friend of the prominent representatives of the Spanish Enlightenment. The study aims at analyzing interactions between text and image in the series of etchings of F. Goya “The Disasters of War” and the reception of the idea of «common good» in the etching 71 “Against the common good”. We have chosen several theoretical and methodological tools to deal with narrative and visual sources. Hermeneutics and semiotics belong to the specific methods used in the process of analysis of engravings. Comprehensive approach is determined by the usage of F. Goya both extraverbial and verbal (double numbers of etchings and artionims, ekfrasis) means. The methodological basis of the study is made up wit the principles of complexity, historicism and scientific character. The main methods were iconographic and iconological; empirical, prosopographical, method of synthetic and analytical source criticism; comparative-historical analysis. Probably, Francisco Goya, who also criticized the contemporary obscurantism in Spain (which is especially reflected in the series of etchings “Los Caprichos”), turned to the ideas of the French enlightenment, which gave rise to possibly unconscious reminiscences and allusions in his work. Thus, we are interested mainly how Goya indirectly or even unconsciously borrowed ideas from the Enlightenment movement, which spread rapidly all over Europe. In this case studying direct borrowings from J.-J. Rousseau’s ideas played only minor role.
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Cipriani, Gabriele, Luca Cipriani, Lucia Picchi e Mario Di Fiorino. "Art is long, life is short. Francisco José de Goya y Lucientes (1746–1828), the suffering artist". Medical Hypotheses 117 (agosto de 2018): 16–20. http://dx.doi.org/10.1016/j.mehy.2018.05.017.
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Symmons, 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 (novembro de 2021): 100061. http://dx.doi.org/10.1016/j.fsiml.2021.100061.
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Machado Blandón, Jorge Andrés. "Estética de lo siniestro en la obra de Goya". Escritos 29, n.º 63 (2021): 287–306. http://dx.doi.org/10.18566/escr.v29n63.a06.
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El texto que se presenta aborda el concepto de lo siniestro en la obra estética del pintor español Francisco de Goya (1746-1828), quien desde la pintura capta para un expresionismo histórico la resistencia y el ímpetu español de independencia del régimen francés al mando de Napoleón Bonaparte. El análisis parte de una revisión bibliográfica y pictográfica en ductilidad de dos categorías: Goya y la representación de lo siniestro y la simbólica de la pintura en el romanticismo ibérico. Se pretende demostrar que existe en el arte goyesco, más allá de un estilo, la supratextualidad hermenéutica retenida en la estética de lo siniestro sobre la eternidad del lienzo. A partir de esta reflexión, se podría develar que la estética de lo siniestro mediada por lo sublime se convierte en aquella expresión que causa fascinación, curiosidad, y a la vez rechazo. De ahí que cuando se habla de lo siniestro se refiere a aquello que está velado, que necesita despojarse de su sombra, para poder contemplarse con claridad. En Goya se conectan lo trágico; los rostros con dramatismo dan cuenta de la realidad perturbadora de su entorno, deja sellado en los murales de su aposento imágenes codificadas de emociones, historia y horror. Es en ese momento donde lo sublime cumple el papel fundamental de ser el puente que permite acceder al conocimiento frente a los interrogantes que hacen parte de la existencia ya que en el asombro filosófico se busca develar aquello dudoso, oculto, e inquietante que hace parte de nuestra humanidad.
Teses / dissertações sobre o assunto "Goya, Francisco, 1746-1828 – Fiction"
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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.
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The aim of this mini-thesis was to investigate if the Spanish artist Francisco Jose de Goya y Lucientes (1746-1828) was aware of the progress that enlightened thought brought to Spain during the late eighteenth-century, and to see whether this had any effect on his series Los Caprichos (1797-1799). According to some contemporary historians, such as Dowling (1985, p. 347), the " ... specific subject-matter of the Caprichos came directly from the ideology of the Spanish Enlightenment. " The contemporary historian Jeremy Black (1990, p. 208) described the Enlightenment as a " ... tendency towards critical enquiry and the application of reason." Enlightened thinkers were primarily critics who used reason as a goal and a method to create a better society. Reason was believed to be a characteristic trait of the human species, human development and social organisation. The Enlightenment is not a purely seventeenth and eighteenth century phenomenon, but originated in the ideas of the classical civilizations and also the humanism of the Middle Ages and Renaissance in Europe. Many intellectuals were responsible for this new direction of thinking. The ideas of these scientists and philosophers are discussed in some detail, especially those beliefs which are clearly seen in the subject-matter of Los Caprichos. In addition, consideration is given to the possible effects of some of the historical events on the life and work of Goya, for example, the French Revolution (1789) and the Reign of Terror (1793-1794) which followed the Revolution. In order to understand the background of the environment into which Goya was born and in which he developed, research was done on Spanish life and the monarchs of the eighteenth century. Specific attention is given to two Spanish kings from the House of Bourbon: Charles 3, who began numerous enlightened reforms in Spain and reigned around the time of Goya's early artistic and social development, and Charles 4 who did not continue the reforming policies of his father and ruled Spain when the Caprichos were produced. The extent to which the Enlightenment spread to Spain is investigated, especially during the period in which Goya lived. Notable progressive thinkers of this European country are discussed, and special attention is given to those open-minded people whom Goya met. There appears to be proof that Goya may have been inspired by numerous of these learned Spaniards, and where this has motivated the Caprichos, special mention is made. The general census of the twentieth century, however, seems to be that Goya was not a towering intellectual thinker, but he was most certainly not an illiterate, unintelligent person either. The themes of Los Caprichos strongly suggest that he was influenced by enlightened individuals many of whom were his friends, such as the wealthy businessman and art-collector Sebastian Martinez (17 ?-1800) (with whom Goya stayed during a serious illness in 1792-1793). The letters written by Goya to his childhood friend Martin Zapater (1746-18 ?) and selected prints from the Caprichos provide sufficient proof to indicate that enlightened thought inspired the work of Goya. It must be recognised, however, that there were other events that could have been influential such as: his appointment as Painter to the King in 1786, which provided Goya with a regular salary and released him from the demands of patrons, giving his imagination free reign; the illness that he suffered from 1792 until 1793, which could have caused Goya to view his life in perspective and could have given him the courage to criticise society. On a smaller scale, the possible love affair that Goya had with the Duchess of Alba, which turned sour, was possibly a blow to his self esteem. This is a subject which is seen in a few of the prints from Los Caprichos. The research gathered for this mini-thesis is from the ex post facto source-material available through Rhodes University library, and any other attainable published data connected to Goya. This information consists of secondary sources which include copies of manuscripts dating from the time of Goya as well as first-hand observations of Goya's art.
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Bird, 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.
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Montoya, Corinne. "Des rêves de raison, déraisons du rêve : l'écriture spéculaire dans l'oeuvre gravé de Goya". Dijon, 1996. http://www.theses.fr/1996DIJOL027.
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L'oeuvre gravé de Goya semble méconnu de la critique et du public qui lui préfère l'oeuvre peint à l'huile. La plupart de ces estampes sont dotées de légendes rédigées par Goya et le rapport qu'entretiennent l'image et le texte est révélateur du propos satirique de Goya. Cette étude tend à prouver les liens étroits qui existent entre les différentes séries gravées (par ordre chronologique les caprices les désastres de la guerre, la tauromachie et les disparates), conçues et construites suivant une logique séculaire qui fonctionne au niveau de l'oeuvre complet mais qui se retrouve au sein de chaque série, dans un jeu perpétuel entre image réelle (la société espagnole de la fin du siècle des Lumières, la guerre d'indépendance) et image virtuelle (le jeu, le carnaval, la sorcellerie. . . ) qui s'organisent à partir de gravures-pivots (comme par exemple le "songe de la raison produit des monstres" (caprice 1). Nous avons procédé, suivant la méthode sociocritique, à l'identification des signes linguistiques des légendes et des icônes de ces estampes, puis nous avons étudié leurs récurrences, leurs occurrences et leurs places dans les différentes séries gravées, afin de parvenir à une compréhension globale de l' oeuvre gravé par rapport aux autres moyens d'expression utilisés par Goya, mais aussi à une appréhension individuelle de chaque série, en soulignant les textes culturels qui sous-tendent la production goyesqueGoya'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
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Araya, Arenas Felipe. "Goya: anatomía de una época en crisis". Tesis, Universidad de Chile, 2004. http://repositorio.uchile.cl/handle/2250/145039.
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Oliveira, 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.
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oliveira_srm_me_ia.pdf: 3367855 bytes, checksum: d8b28ad336f25c88adc37255b01c951a (MD5)A 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
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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.
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Un roman, Le Songe de Goya, forme le volet « pratique » de la thèse. Il imagine un rêve du peintre Goya qui croit se trouver dans le village perdu des Mallos, et trouve dans ce délire sa vraie vocation artistique. Cet univers est inspiré du recueil de gravures Los Caprichos.Le volet « théorique » réfléchit d’abord sur les rapports entre l’écriture et ces images fascinantes mais lointaines, sur la distance anachronique par rapport à elles : la conception de l’art, la sensibilité ont évolué. L’horreur n’est plus celle du vice, mais celle de l’Histoire ou de l’exclusion sociale. Ensuite, sont analysées trois œuvres: La Chouette aveugle de Sadegh Hedayat, un délire obsessionnel sur une image ; Dieu ne finit pas de Pierre Michon, ou Goya entre splendeurs et noirceurs ; Rêves de Rêves d’Antonio Tabucchi, un recueil de rêves imaginaires. Toutes trois mettent en récit des images dans un jeu de réversibilité goyesque mais révèlent diverses conceptions de l’art, très éloignées de l’esprit des Lumières qui reste celui de Goya. A cette étude critique s’ajoute l’examen génétique de deux projets inaboutis qui ont précédé Le Songe de Goya.A partir du rapport d’un roman original à des gravures, de l’analyse d’œuvres d’autres écrivains, et d’un retour réflexif sur des tentatives avortées, le mémoire réfléchit donc par l’analyse critique et par la pratique sur les rapports entre la fiction et l’imageA 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
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Vetter, Anna. "Les citations picturales dans l'écriture baroque du Siècle des lumières d'Alejo Carpentier". Besançon, 1999. http://www.theses.fr/1999BESA1015.
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Les rapports entre peinture et littérature ne sont pas toujours affaire de référence. En témoigne le roman d'Alejo Carpentier, le Siècle des Lumières, dans lequel se révèle, derrière une multitude de citations picturales, un certain nombre d'opérations caractéristiques de l'écriture baroque (contournement de la référence, imitation, transformation, démultiplication du motif principal, amalgame, invention) qui tendent à obscurcir la référence précise au pictural au profit d'une référence fictive. La constitution d'une telle fiction favorise l'intégration de la citation picturale dans la construction narrative sur les plans du traitement du temps, du parcours des personnages et du thème du désordre. Par ailleurs, elle est à la base de la formation d'un réseau " souterrain " de correspondances, repérable tout au long du récit, qui instaure un jeu de dialogue et de renvoi entre les citations picturales et l'univers pictural de Goya.
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Konstantelos, 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/.
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The present research deals mainly with the terror inflicted by the military and with the fact and concept of victimhood, as presented by the artists Jacques Callot (c. 1592 - 1635) (in the Large Miseries and Misfortunes of War, 1633, for example), Francisco José de Goya y Lucientes (1746 -1828) (in his series of etchings The Disasters of War), and Honoré Daumier (1808-1879) (in his work dealing with the nineteenth-century sociopolitical revolutions and wars such as the Crimean war 1853-1856 and the Franco-Prussian war 1870-1871). These artists recorded and commented upon issues of human rights embedded in the events of their time. They explored visually the multifaceted relationship between victim and victimiser within specific historical contexts. Callot represented victimhood and militaristic terror as an objective truth both thematically and stylistically. Goya on the other hand reached into the gritty realities of war and inflicted terror, imaginary or real, and commented on the consequent violence and distortions of identity that victim and victimiser endure. Daumier spares his viewers the violence and brutality of war and depicts instead its residual effects and consequences on the victims, in a way that somehow invites the viewer to share responsibility. The present thesis explores the way each artist comments on history, gives propaganda a value, and, thus, how they influenced the public opinion. It endeavours to establish the way these artists organized, explained, and presented their understanding of depicted events to the viewer. Certainly, the aforementioned artists have inspired the visual strategies of later image-makers and of war reportage.
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Strignano, 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.
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Chez Ramón Gómez de la Serna, prolifique écrivain avant-gardiste espagnol de la première moitié du XXe siècle, la place de l’image dans la création littéraire amène à considérer plusieurs hypothèses concernant les modalités d’interrelation texte-image qui existent dans ses œuvres. Un nouvel éclairage est à envisager plus particulièrement sur l’auteur à travers les allusions et les références picturales dont il fait usage dans un corpus déterminé, celui des recueils de microrécits d’inspiration goyesque (Caprichos). Le questionnement autour de l’insertion de l’image dans les récits de Ramón Gómez de la Serna peut s’établir selon divers axes d’étude depuis la complexe intégration explicite ou implicite de l’œuvre picturale-source jusqu’à la plus simple illustration produite par l’écrivain lui-même.Ces cas d’intermédialité picturo-littéraire s’expliquent tout d’abord dans cette étude par une contextualisation de l’approche artistique ramonienne. Puis, dans un deuxième temps, l’expérience intermédiale à travers divers procédés (translation et traduction de la source picturale, ekphrasis, insertion intratextuelle et plus globalement principe de la transposition d’art) argumente en faveur d’un dispositif de systématisation intermédiatique dans les récits brefs de l’auteur. Enfin, il est question dans certains recueils (Gollerías, Trampantojos) d’analyser l’origine et la portée des auto-illustrations de Ramón Gómez de la Serna. La pratique artistique de l’auteur madrilène propose une nouvelle interprétation de ses écrits en considérant les gravures et les peintures de multiples artistes comme des substrats à une création littéraire déterminée à laisser librement entrer l’imageIn 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
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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.
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Prenant pour point de départ l’omniprésence de l’animal dans l’art actuel, notre recherche s’attache à comprendre comment la question de l’altérité, souvent explicite dans le discours des artistes contemporains qui utilisent le thème de l’animal, se pose à travers ce dernier. En effet depuis le romantisme et suite à une crise propre à la modernité, l’homme, accablé par une mélancolie et la nostalgie de l’Harmonie et de l’Unité perdue, cherche à combler le fossé qui le sépare de « l’absolu ». C’est dans cette tentative de réconciliation que l’animal en tant qu’altérité prend une place importante. Ainsi dès le milieu du XVIIIe siècle l’attention de l’homme européen se tourne vers ces autres qui sont les « sauvages », les enfants et les animaux. Un nouveau type de rapport entre l’homme et l’animal s’instaure alors. Nous étudions ce changement de rapport en commençant avec Goya et sa descente aux enfers qui interroge la vérité de l’homme. Ensuite nous cherchons à comprendre comment se manifeste l’attrait pour l’« exotisme » chez les romantiques, peu à peu remplacé par la question de l’« éthique », pour enfin aboutir à une certaine forme d’ « animalisme »By 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.”
Livros sobre o assunto "Goya, Francisco, 1746-1828 – Fiction"
1
Tomlinson, Janis A. Francisco Goya y Lucientes, 1746-1828. London: Phaidon, 1999.
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2
1746-1828, Goya Francisco, ed. Francisco Goya (1746-1828): Los caprichos. Chicago, Ill: R.S. Johnson Fine Art, 1992.
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3
Gudiol, José. Francisco de Goya Y Lucientes. New York: Abrams, 1985.
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4
tr, Hernani Miguel de, ed. Goya. Buenos Aires: Vitae Ediciones, 2004.
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5
Waldron, Ann. Francisco Goya. New York: H.N. Abrams, 1992.
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6
Wood, Alix. Francisco Goya. New York: Windmill Books, 2013.
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7
Rudy, Chiappini, e Museo d'arte moderna (Lugano, Switzerland), eds. Francisco Goya. Lugano [Switzerland]: Museo d'arte moderna, 1996.
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8
Fullana, Francesc Mir. La enfermedad de Francisco de Goya: (1746-1828). Palma (España): José J. de Olañeta, Editor, 2021.
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9
Stoichiţă, Victor Ieronim. Goya: The last carnival. London: Reaktion, 1999.
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10
Harris, Enriqueta. Goya. London: Phaidon Press, 1994.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Goya, Francisco, 1746-1828 – Fiction"
1
Eitner, Lorenz. "Francisco José de Goya y Lucientes, 1746-1828". In An Outline of 19th Century European Painting, 55–73. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-3.
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"14. Francisco de Goya (1746–1828). Der erste politische Maler der Moderne". In Eine andere Geschichte Spaniens, 287–306. Köln: Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525590.287.
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"Non tenentes caput […]: Fe, razón y monstruos en Pedro de Valencia (1555–1620) y Francisco de Goya (1746–1828)". In Acta Conventus Neo-Latini Vindobonensis, 19–57. BRILL, 2018. http://dx.doi.org/10.1163/9789004361553_003.
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