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Relevant bibliographies by topics / Francisco de Goya y Lucientes

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Academic literature on the topic 'Francisco de Goya y Lucientes'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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Journal articles on the topic "Francisco de Goya y Lucientes"

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Guerra-Tapia, Aurora. "Francisco de Goya y Lucientes: «Aún aprendo»." Más Dermatología, no. 31 (May 1, 2020): 26–28. http://dx.doi.org/10.5538/1887-5181.2020.31.26.

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Tomlinson, Janis A. "Francisco José Goya y Lucientes: Approaching Los Disparates." Romance Quarterly 54, no. 1 (January 2007): 3–8. http://dx.doi.org/10.3200/rqtr.54.1.3-8.

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Buckley, Peter J. "Francisco José de Goya y Lucientes, 1746–1828." American Journal of Psychiatry 166, no. 3 (March 2009): 292. http://dx.doi.org/10.1176/appi.ajp.2008.08081273.

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Santos-Bueso, E., F. Sáenz-Francés, and J. García-Sánchez. "Átropos o Las parcas. Francisco de Goya y Lucientes." Archivos de la Sociedad Española de Oftalmología 88, no. 11 (November 2013): e78-e79. http://dx.doi.org/10.1016/j.oftal.2012.09.010.

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Wholden, Rosalind G. "About the Artist: Francisco Goya y Lucientes (1746–1828)." Psychological Perspectives 57, no. 3 (July 3, 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, no. 11 (November 2003): 1506–7. http://dx.doi.org/10.3201/eid0911.ac0911.

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McKiernan, M. "Francisco de Goya y Lucientes The Injured Mason (El albanil herido) 1786-1787." Occupational Medicine 63, no. 1 (January 1, 2013): 5–6. http://dx.doi.org/10.1093/occmed/kqs197.

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Potter, Polyxeni. "Francisco José de Goya y Lucientes (1746–1828). Self-portrait with Doctor Arrieta (1820)." Emerging Infectious Diseases 10, no. 5 (May 2004): 974. http://dx.doi.org/10.3201/eid1005.ac1005.

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Levchenko, Illia, Oleksandra Kotliar, and 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, no. 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, and Mario Di Fiorino. "Art is long, life is short. Francisco José de Goya y Lucientes (1746–1828), the suffering artist." Medical Hypotheses 117 (August 2018): 16–20. http://dx.doi.org/10.1016/j.mehy.2018.05.017.

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Dissertations / Theses on the topic "Francisco de Goya y Lucientes"

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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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Beyer, Vera. "Rahmenbestimmungen Funktionen von Rahmen bei Goya, Velázquez, van Eyck und Degas." Paderborn München Fink, 2005. http://d-nb.info/986681350/04.

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Maurer, Gudrun. "Ars longa, vita brevis? zum letzten offiziellen Bildprogramm am spanischen Hof und Goyas Königsporträts um 1800." Berlin wvb, Wiss. Verl, 2007. http://d-nb.info/994679513/04.

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Beyer, Vera. "Rahmenbestimmungen : Funktionen von Rahmen bei Goya, Velázquez, van Eyck und Degas /." Paderborn : Verlag Wilhelm Fink, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3037654&prov=M&dok_var=1&dok_ext=htm.

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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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Schlünder, Susanne. "Karnevaleske Körperwelten Francisco Goyas : zur Intermedialität der Caprichos /." Tübingen : Stauffenburg Verl, 2002. http://catalogue.bnf.fr/ark:/12148/cb40948785x.

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Kornmeier, Barbara. "Goya und die populäre Bilderwelt /." Frankfurt am Main : Vervuert, 1999. http://catalogue.bnf.fr/ark:/12148/cb37323996b.

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Nunes, Cristina Accioly. "Los Caprichos, de Francisco Goya: manifestações da sombra coletiva espanhola." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/15245.

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Made available in DSpace on 2016-04-28T20:38:37Z (GMT). No. of bitstreams: 1 Cristina Accioly Nunes.pdf: 3313401 bytes, checksum: 8a2799c4bf101e1d9ebf46cb4ea7d0e0 (MD5) Previous issue date: 2013-03-15
The purpose of this dissertation is to understand and analyze the engravings of the series called Los Caprichos, created by Spanish painter and engraver Francisco José de Goya y Lucientes, we have as hypothesis that it seems to represent aspects of the collective shadow of the Spanish society in the XVIII century. The theoretical support was based on the emerging concept of cultural complexes and the junguian premises that Art can compensate the collective conscious attitude of a particular society, in a particular moment of history. To the analysis we have picked categories, which have been obtained crossing the categories described in the specific literature of the Los Caprichos with articles available in the data bases of Scholar Google, SciELO, PePSIC e LILACS, narrowing down to four main collective shadow aspects: misogyny, the apathy of the Spanish aristocracy, the ignorance of the people and the power abuse of the clergy, which were subdivided into ten subcategories. To each subcategory, we have chosen one image of the series and analyzed through the symbolic amplification method. The results of the research suggest that, through caricature and satire, Goya has depicted many aspects of the Spanish collective shadow, of the XVIII century
O objetivo da dissertação foi compreender e analisar as gravuras da série Los Caprichos, do pintor e gravador espanhol Francisco José de Goya y Lucientes, levantando como hipótese que elas parecem representar aspectos da sombra coletiva espanhola no século XVIII. Empregamos, como suporte teórico, o conceito emergente de complexo cultural e o pressuposto junguiano de que a arte de uma época pode atuar de forma compensatória à atitude dominante de uma sociedade. Para a análise, foram selecionadas categorias, as quais foram obtidas cruzando as categorias descritas na literatura específica sobre Los Caprichos com buscas nas bases de dados Google Acadêmico, SciELO, PePSIC e LILACS. Foram selecionados quatro aspectos da sombra coletiva: a misoginia, a apatia da nobreza, a ignorância do povo e o abuso do poder do clero, que foram divididos em dez subcategorias. Para cada subcategoria, escolhemos uma gravura da série e a analisamos segundo o método de amplificação simbólica. Os resultados da pesquisa sugerem que, nas dobras das caricaturas e das sátiras, Goya representou diversos aspectos da sombra coletiva espanhola no século XVIII

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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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Aleksandrowicz, Joanna. "Inspiracje twórczością Goi w kinie hiszpańskim." Doctoral thesis, Katowice : Uniwersytet Śląski, 2009. http://hdl.handle.net/20.500.12128/5222.

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Moja rozprawa jest pierwszą próbą zebrania wszystkich wątków związanych z obecnością malarza i jego twórczości na ekranach, zarówno kinowych, jak i telewizyjnych. Dotychczas powstawały z tego zakresu sporadyczne artykuły, najczęściej podejmujące najłatwiejszy do ujęcia aspekt zagadnienia, a mianowicie obecność na ekranie samej postaci artysty.Inspiracje twórczością Goi w kinie hiszpańskim, jako element szerszego zjawiska, wymagają niewątpliwie, by ukazać je na tle odniesień do prac i biografii artysty w innych dziedzinach sztuki, zarysować rolę mistrza w budowaniu hiszpańskiej tożsamości kulturowej oraz wprowadzić czytelnika w obszar jego sztuki i życia pod kątem przyszłych odniesień filmowych. Tym aspektom poświęciłam pierwszą część mojej rozprawy, mającą charakter wprowadzający. W części drugiej analizuję zebrany materiał filmowy, dzieląc go pod względem trzech najczęstszych reminiscencji tematycznych, nie stroniąc też od analizy warstwy wizualnej, mającej tu jednak na celu pokazanie związków treściowych. W ostatniej, trzeciej części próbuję zgłębić istotę estetycznych odniesień do dzieła mistrza, zajmując się portretami, sceneriami i rekwizytami „malowanymi kamerą”, a także, w rozdziale ostatnim, podsumowując typy formalnych nawiązań do grafiki i malarstwa, które mogą być odczytywane nie tylko w kontekście twórczości Goi, ale również w szerszym kręgu spotkań plastyki i filmu.

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Books on the topic "Francisco de Goya y Lucientes"

1

Gudiol, José. Francisco de Goya Y Lucientes. New York: Abrams, 1985.

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Gudiol, José. Goya: Francisco de Goya y Lucientes. New York: Harry N.Abrams, 1985.

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Gudiol, José. Goya: Francisco de Goya y Lucientes. London: Thames and Hudson, 1990.

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Tomlinson, Janis A. Francisco Goya y Lucientes, 1746-1828. London: Phaidon, 1999.

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Goya, Francisco. Francisco de Paula José Goya y Lucientes. México, D.F: Fundación Cultural Televisa, 1992.

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Cela, Camilo José. Los caprichos de Francisco de Goya y Lucientes. [Spain]: Silex, 1989.

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Bužgová, Eva. Francisco Goya y Lucientes: Grafické cykly : Národní galerie v Praze, Palác Kinských, červenec-srpen, 1991. V Praze: Národní galerie, 1991.

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Richardson, Martha. Francisco Goya. New York: Chelsea House, 1994.

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Francisco Goya. New York: Counterpoint, 2004.

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Francisco Goya. New York, NY: Rosen Publishing, 2016.

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Book chapters on the topic "Francisco de Goya y Lucientes"

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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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Barclay, Katie, and François Soyer. "Franciso de Goya y Lucientes (1746–1828), For Having been Born Elsewhere." In Emotions in Europe 1517–1914, 210–11. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003175537-34.

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Schwarz, Hans-Peter. "Francisco de Goya." In Das Künstlerhaus, 269–71. Wiesbaden: Vieweg+Teubner Verlag, 1990. http://dx.doi.org/10.1007/978-3-663-05290-6_83.

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Meißner, Thomas. "Francisco de Goya: Rätselhafte Taubheit." In Der prominente Patient, 71–73. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-57731-8_17.

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Theissing, Heinrich. "Die panische Zeit bei Francisco Goya." In Bilderzählungen - Zeitlichkeit im Bild, 127–38. Köln: Böhlau Verlag, 2003. http://dx.doi.org/10.7788/9783412323233-007.

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Pereira, Patrick Araújo, and Altamir Botoso. "Francisco de Goya: Um pintor-filósofo?" In Série Educar- Volume 21 – Artes e Ludicidade. Editora Poisson, 2020. http://dx.doi.org/10.36229/978-65-86127-01-0.cap.04.

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Silva, Marianna Bernartt, Jorge Antonio Berndt, and Valdeci Batista de Melo Oliveira. "A FIGURAÇÃO DO GROTESCO EM FRANCISCO DE GOYA." In Linguística, Letras e Artes: Culturas e Identidades 3, 78–90. Atena Editora, 2021. http://dx.doi.org/10.22533/at.ed.4622130037.

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Peters, Olaf. "Gewalt und Moderne: Francisco Goya und seine Rezeption im 20. Jahrhundert." In "Panta Rhei". Wilhelm Fink Verlag, 2008. http://dx.doi.org/10.30965/9783846746479_010.

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Vargas Celemín, Libardo. "Nelson Romero Guzmán: Por la ruta del río y la poesía." In Tolimenses que dejan huella. Volumen 7, 73–110. Ediciones Unibagué, 2021. http://dx.doi.org/10.35707/tol/703.

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Crónica periodística de Nelson Romero Guzmán, publicada en el volumen VII de Tolimenses que dejan huella. Poeta y ensayista, Romero es licenciado en Filosofía y Letras de la Universidad Santo Tomás y magíster en Literatura de la Universidad Tecnológica de Pereira en convenio con la Universidad del Tolima. Con la obtención del XIV Premio Nacional de Poesía Universidad de Antioquia 1999, Nelson Romero inicia un ambicioso proyecto poético que corresponde a una trilogía, en la que sus protagonistas son los pintores Vincent van Gogh, Francisco de Goya y Edward Munch (Surgidos de la luz, La quinta del sordo y Bajo el brillo de la luna). Con este libro, el tercero de la trilogía, obtiene en Cuba el Premio Casa de las Américas 2015, reconocimiento que le abre innumerables puertas al poeta.

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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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Conference papers on the topic "Francisco de Goya y Lucientes"

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Florindo, Ana Carolina Dias. "O Retrato da Condessa de Casa Flores de Francisco de Goya y Lucientes." In Encontro de História da Arte. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/eha.vi14.3354.

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Santos, João Henrique dos, and Kellen Jacobsen Follador. "Algumas considerações sobre o quadro “auto-da-fé” ou “tribunal da inquisição”, de Francisco José de Goya y Lucientes." In Encontro da História da Arte. Universidade Estadual de Campinas, 2005. http://dx.doi.org/10.20396/eha.1.2005.3599.

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