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Relevant bibliographies by topics / Goya, Francisco

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Academic literature on the topic 'Goya, Francisco'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Goya, Francisco"

1

Meißner, Thomas. "Francisco de Goya." Heilberufe 68, no. 3 (March 2016): 74. http://dx.doi.org/10.1007/s00058-016-2072-0.

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Kim, Junghee. "Old Goya in Black Paintings by Francisco de Goya." Journal of Art Theory and Practice 20 (December 30, 2015): 190–240. http://dx.doi.org/10.15597/17381789201520189.

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Radünz, Dennis Lauro. "Goya depois de Goya." Boletim de Pesquisa NELIC 19, no. 31 (October 6, 2020): 71–86. http://dx.doi.org/10.5007/1984-784x.2019v19n31p71.

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O procedimento de montagem do poema “Goya después de El Prado”, de Hebert Benítez, atualiza a Gravura # 43 de Francisco de Goya e, atravessado de heterocronia, incita a uma leitura do “princípio-atlas” (Georges Didi-Huberman) e da configuração do monstro como compossibilidade e mistura, desde a filosofia pré-socrática de Empédocles de Agrigento. A atribuição de valor, a causalidade, a periodização e, em especial, a heterocronia são substratos dessa cena de leitura que procura articular a gravura de 1799 e o poema de 1999 à noção de “desativação da autonomia” (Raúl Antelo) e, no percurso, encontra a heterocronia e a montagem da artista Leila Danziger, em sua exposição “Navio de emigrantes” (2018/2019).

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Emery, Alan E. H. "The Madhouse by Francisco Goya." Practical Neurology 3, no. 3 (June 2003): 178.1–183. http://dx.doi.org/10.1046/j.1474-7766.2003.09150.x.

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Arnáiz, José Manuel. "Francisco de Goya: tres cuadros, tres épocas." Archivo Español de Arte 70, no. 280 (December 30, 1997): 375–95. http://dx.doi.org/10.3989/aearte.1997.v70.i280.663.

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Moraes, Maria Cristina Milani de. "Passado composto. Três cartas." Revista de Italianística 2, no. 2 (December 30, 1994): 177. http://dx.doi.org/10.11606/issn.2238-8281.v2i2p177-178.

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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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Moffitt, John F. "FRANCISCO GOYA, ANDREA ALCIATI, AND EMBLEMATIC EVACUATION." Source: Notes in the History of Art 15, no. 3 (April 1996): 20–27. http://dx.doi.org/10.1086/sou.15.3.23205589.

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du Plessis, Antoinette. "The Disparate de bestia by Francisco Goya." de arte 32, no. 56 (September 1997): 25–28. http://dx.doi.org/10.1080/00043389.1997.11761257.

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Carrazana, Enrique J. "Francisco de Goya and the Seizing Impenitent." European Neurology 83, no. 3 (2020): 330–32. http://dx.doi.org/10.1159/000508364.

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The painting, St. Francis and the Dying Impenitent (1788) by the Spanish Baroque painter, Francisco Goya, is discussed by the author within the context of epilepsy and biographical events in the lives of both the saint and the painter.

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Dissertations / Theses on the topic "Goya, Francisco"

1

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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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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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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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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Hoffmann-Samland, Jens [Verfasser], and Martin [Akademischer Betreuer] Warnke. "Goyas Velázquez : Francisco Goya: Zeichnungen, Radierungen und Gemälde nach Velázquez / Jens Hoffmann-Samland. Betreuer: Martin Warnke." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2011. http://d-nb.info/1020465859/34.

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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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Fullerton, Amy Katherine. "Historical representation in the works of Francisco de Goya interpretations of The Black Paintings /." Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1939207281&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Miller, Olivia Nicole. "The Spanish royal hunting portrait from Velazquez to Goya /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/9131.

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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 goyesque
Goya'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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Books on the topic "Goya, Francisco"

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

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

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

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Wood, Alix. Francisco Goya. New York: Windmill Books, 2013.

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Venezia, Mike. Francisco Goya. Chicago: Childrens Press, 1991.

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McNeese, Tim. Francisco Goya. New York, N.Y: Chelsea House, 2008.

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Waldron, Ann. Francisco Goya. New York: H.N. Abrams, 1992.

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Rudy, Chiappini, and Museo d'arte moderna (Lugano, Switzerland), eds. Francisco Goya. Lugano [Switzerland]: Museo d'arte moderna, 1996.

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Carr-Gomm, Sarah. Francisco Goya. New York: Parkstone International, 2011.

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Glendinning, Nigel. Francisco de Goya. Madrid: Historia 16, 1993.

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Book chapters on the topic "Goya, Francisco"

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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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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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Jayne, K. G. "Francis Xavier in Goa." In Vasco da Gama and his Successors, 1460–1580, 188–94. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003368465-30.

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Kaap, Henry. "Kritische Bildkonstellationen." In Ästhetische Eigenlogiken des europäischen Genrebildes, 147–76. Bielefeld, Germany: Bielefeld University Press / transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839468982-006.

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Henry Kaap geht in diesem Beitrag ausgehend von fünf Kabinettbildern aus der einstigen Sammlung von Manuel García del la Prada Francisco de Goyas ästhetischen Strategien bewusst erzeugter Ambiguität nach. Wenn in den fünf Werken mit dem Stierkampf, der Geißlerprozession, der Inquisition, dem Irrenhaus und dem Karneval Themen zur Anschauung gebracht werden, die im Zentrum des um 1800 in Spanien stattfindenden gesellschaftlichen Aushandlungsprozesses zu verorten sind, so lassen sich innerhalb der Bilderserie multiple und komplexe Bezugnahmen ausmachen. Erst in der Konstellation der Gemälde werden ästhetische und ethische Dimension ihrer Ambiguität ersichtlich, welche das Betrachtersubjekt zur kritischen Reflexion sozialer Normen anzuregen vermögen.

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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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Jacobs, Helmut C. "Die Groteske als aufklärerisches Programm in Francisco de Goyas Capricho 4." In Das Groteske in der Literatur Spaniens und Lateinamerikas, 39–88. Göttingen: V&R unipress, 2016. http://dx.doi.org/10.14220/9783737002318.39.

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Frost, Mark. "Richard Francis Burton, ‘Malabar‘, Goa, and the Blue Mountains." In Environment and Ecology in the Long Nineteenth-Century, 536–38. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429355653-91.

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"Goya, Modernity, Aesthetic Critique." In Francisco de Goya and the Art of Critique, 89–136. Zone Books, 2023. http://dx.doi.org/10.2307/j.ctv2cmrbtn.6.

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Conference papers on the topic "Goya, Francisco"

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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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