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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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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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Previous issue date: 2013-03-15The 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 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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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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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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Oliveira, Sandra Regina Marin de. "A representação do feio na arte : um breve estudo sobre quatro gravuras de Francisco Goya /." São Paulo, 2013. http://hdl.handle.net/11449/86890.
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Orientador: José Leonardo do NascimentoBanca: Amílcar Torrão Filho
Banca: Sergio Mauro Romagnolo
Resumo: 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
Abstract: 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
Mestre
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Milos, Emil University of Ballarat. "Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12772.
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"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006."Master of Arts
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Milos, Emil. "Letters to Francisco : Negative imagery in art and the depiction of microstructural elements of the human body." Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/61908.
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"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006."Master of Arts
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Milos, Emil. "Letters to Francisco : negative imagery in art and the depiction of microstructural elements of the human body." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14608.
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"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006."Master of Arts
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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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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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Agustín, Lacruz María del Carmen. "Análisis documental de contenido de la imagen artística: Fundamentos y aplicación a la producción retratística de Francisco de Goya." Universidad de Zaragoza, 2004. http://www.tesisenred.net.
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Investigación interdisciplinar que estudia los fundamentos teóricos y metodológicos del análisis de contenido de los retratos pictóricos, considerándolos como textos artísticos cuyo discurso icónico con sus propiedades, atributos, relaciones, niveles de referencia y sistemas de representación puede ser analizado y verbalizado a través de representaciones documentales susceptibles de ser tratadas y recuperadas en entornos documentales. Propone un modelo teórico de análisis de contenido que identifica y analiza los contextos de producción, uso y recepción de los retratos pictóricos. Posteriormente desarrolla una metodología aplicada, específicamente documental, que permite, tanto la redacción de resúmenes y descriptores controlados como la sistematización de las fuentes de información requeridas. Finalmente formula como resultado un algoritmo de análisis, que funciona como procedimiento estandarizado y como norma metodológica. Este algoritmo sistematiza el análisis conceptual y la representación documental y secuencia los niveles de la recuperación posterior. Funciona como formato normalizado que estructura la información en áreas y posteriormente en campos, cada uno de los cuales recoge, como inventario, las relaciones, los atributos y los matizadores en que se sustancia la representación documental del contenido icónico. Tanto el modelo teórico como la metodología de análisis han sido aplicados sobre una muestra representativa de 80 retratos pintados por el artista aragonés F. de Goya, entre 1783 y 1828.
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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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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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Timmerer-Maier, Verena. "Wohnen 'in Goyas letztem Raum' : Eine intermediale Poetik des Entsetzens : Die Zitierung von Goyas Pinturas Negras in Ingeborg Bachmanns Roman Malina." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4117.
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Ingeborg Bachmann’s recurrent references to the Spanish painter Francisco de Goya have frequently been noted, but have so far never been investigated. After outlining, in chapter one, Bachmann’s references to Goya in her thesis on Wittgenstein as well as in the Franza-Fragment and in her only novel Malina, this thesis sets out to highlight the text-image relation between Bachmann’s novel Malina and Goya’s series of murals which are known as the so called „Black Paintings“. Chapter two focuses on the importance of intertextuality and intermediality in Bachmann’s novel and the importance of quotation for the female narrator, who relies on intertextual and intermedial references to express her traumatic experiences. After an introduction into the aesthetics of Goya, in chapter three, chapters four and five examine the text-image relation between Goya’s painting El Perro Semihundido and the first chapter in Bachmann’s novel. The double perspective contained in El Perro, of the subjective expression of the dog’s longing for rescue and the objective futility of this hope as expressed by the dog’s positioning against the abstract background setting, is transferred onto the female narrator and her longing to be rescued through love. Chapter five especially focuses on the (problematic) semantic shifts which occur in the course of this transformation from an abstract representation in the painting to the depiction of concrete and personalized experiences in the text. Chapter six investigates the correlations between Bachmann’s dream chapter and the aesthetics of Goya’s murals, and asks to what extent Bachmann succeeds in transferring the main motifs in Goya’s images into literary form. Chapter seven explores the similarities and media-specific differences in the strategies deployed for depicting madness, violence and destruction in Bachmann’s text and in Goya’s murals and his series of prints on the Desasters of War. Bachmann’s novel Malina shows an extraordinary richness in intertextual and intermedial references. Analysing the explicit as well as implicit references to Goya’s late works in the novel this thesis addresses one area on Ingeborg Bachmann which has not been researched in detail so far.
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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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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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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.”
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Nunes, Radamés Vieira. "Francisco Ayres, lembranças de um porvir: Porto Nacional e a modernização no norte de Goyaz." Universidade Federal de Uberlândia, 2016. https://repositorio.ufu.br/handle/123456789/17850.
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Na virada do século XIX para o século XX muitas cidades brasileiras experimentaram transformações em diversos aspectos, como urbanização, aceleração da experiência com o tempo devido às novas possibilidades de transporte e comunicação, descobertas científicas, surgimento de novas técnicas, como vapor, fotografia, telégrafo, eletricidade, crescimento demográfico, novos hábitos, costumes e a normatização de práticas do cotidiano, racionalização da política, crescente impessoalidade nas relações sociais, entre outros elementos que alteraram a percepção sobre a cidade. Este estudo tem como objetivo refletir sobre as formas de se vivenciar a modernização, essa é a indagação de fundo que permeia todo o trabalho, acompanhada por meio do Jornal Norte de Goyaz e do significativo personagem Francisco Ayres da Silva. Intenta-se a partir da sua trajetória e do periódico produzido por ele perceber qual o lugar de Porto Nacional face ao projeto de modernização e os resultados daí oriundos. Em outras palavras, o que o anúncio do novo e a avalanche do progresso provocaram na cidade localizada no interior do interior da parte central do Brasil. Francisco Ayres passou a chamar a atenção, nem tanto pela sua proeminência como figura pública de/em Porto Nacional, mas principalmente pela maneira como formou, transitou, participou, leu, compreendeu, interpretou e interferiu naquele processo de modernização, que pode até não ter explodido na cidade portuense como desejou, mas lá deixou muitos estilhaços, atingindo seus habitantes. Nessa perspectiva, (re)contar a trajetória de Ayres, foi o caminho adotado para tornar mais inteligível a maneira como uma cidade, do que se constituiu como norte goiano, região supostamente alheia aos grandes centros e a modernização do espaço urbano, passou por esse processo no século da electricidade, momento em que se acreditou, ou se quis acreditar que não havia impossíveis para o homem. Os dias de Francisco Ayres não se os tem na palma das mãos, porém os fragmentos desses dias estão impressos nos hebdomadários, produzidos na tipografia Nortense no início do Século XX, neles são dados a ler suas formas de sentir, pensar e experimentar o contexto em que viveu, bem como seus projetos “utópicos” para a cidade, que remetiam também ao que vislumbrava para a região, como expectativa de esplendoroso porvir.At the turn of the nineteenth to the twentieth century many Brazilian cities have experienced changes in several aspects, such as urbanization, accelerating the experience over time due to new possibilities of transport and communication, scientific discoveries, development of new techniques, such as steam, photography, telegraph , electricity, population growth, new habits, customs and norms of everyday practices, rationalization of politics, increasing impersonality in social relations, among other elements that altered the perception of the city. This study aims to reflect on ways of experiencing the modernization, this is the bottom question that permeates all the work, accompanied by the newspaper Norte de Goyaz and significant character Francisco Ayres da Silva. Attempts up from its trajectory and periodical produced by him realize what is the place of Porto Nacional against the modernization project and the results arising therefrom. In other words, the announcement of the new and the progress of the avalanche caused in the city located within the interior of the central part of Brazil. Francisco Ayres began to draw attention, not so much for its prominence as a public figure of / in Porto Nacional, but mainly for the way formed, moved, took part read, understood, interpreted and interfered in this process of modernization, which might not even have exploded in Porto city as desired, but there left many splinters, reaching its inhabitants. From this perspective, (re)tell the trajectory of Ayres, was the path taken to make more intelligible the way a city, which was constituted as northern goiano, supposedly alien to large centers region and modernization of urban space, went through this process in the electricity century, at which time it was believed, or wanted to believe it was not impossible for man. The days of Francisco Ayres did not have them in the palm of the hand, but the fragments of these days are printed in weekly papers, produced in Nortense typography in the early twentieth century, in them are given to read their ways of feeling, thinking and experiencing the context in who lived and his “utopian” projects for the city, which also remitted to that envisioned for the region, as expected splendid future.
Tese (Doutorado)
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Añoveros, Trías de Bes Xabier. "San Francisco Javier: vida, misión y devoción." Doctoral thesis, Universitat Internacional de Catalunya, 2018. http://hdl.handle.net/10803/666925.
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Es una compilación de diversos temas cuyo hilo conductor es San Francisco Javier: su familia; el Castillo donde nació; sus estudios universitarios en la Universidad de la Sorbona en París, donde alcanzó el grado de catedrático; su acatamiento a las direcrices de San Ignacio de Loyola; su marcha a las misiones del Oriente portugués; la evangelización de la India, del Asia Sudoriental y del Japón; la idea de la misionología en el siglo XVI; su solitaria muerte en la isla de Sancián; la canonización; la bibliografía y la iconografía javierana.It is a compilation of several themes and whose conducting wire is San Francisco Javier: his family, the castle where he was born; his degree in the University of La Sorbone in Paris, where he became university professor, his strict observance of the San Ignacio de Loyola Rules, his departure to the missions in eastern Portugal; the evangelization of the India, south East Asia and Japan; the Missiology’s idea in the XVIth Century; his lonely death in Sancian island, his canonization, San Francisco Javier’s bibliograghy and iconography.
Es una recopilació de diferents temes el fil conductor dels quals es San Francisco Javier: la seva família; el Castell on va néixer; els seus estudis universitaris a La Universitat de la Sorbona de París, on va aconseguir el grau de catedràtic; el seu acatament a les directrius de San Ignacio de Loyola; la seva marxa a les missions de l’Orient portuguès; la evangelització de l’Índia, de l’Àsia Sud-oriental i del Japó; la idea de la missionologia al segle XVI; la seva solitària mort a la illa de Sancián; la canonització: la bibliografia i la iconografia javierana.
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LIU, JUN-LAN, and 劉俊蘭. "Francisco Goya, 1746-1828." Thesis, 1991. http://ndltd.ncl.edu.tw/handle/86286373875684949781.
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Brown, Jerome Albert. "Inheritors of the black legend: Francisco Goya and Luis Bunuel (Mexico, Spain)." Thesis, 1995. http://hdl.handle.net/1911/13930.
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Filmmaker Luis Bunuel occupies a unique position in the history of cinema: not only is Bunuel considered the definitive filmmaker associated with a major art movement--Surrealism--but he is also considered the embodiment of two national cinemas, those of Mexico and Spain. Bunuelian Surrealism actually derives from the atavistic medievalism of Spain, unique in Western Europe with its history of oppression, intolerance, persecution and specularized violence. It is a surrealism rooted in a profound sense of moral outrage, closer in spirit to the dark vision of his Aragonese predecessor, painter Francisco Goya, than to Andre Breton's Parisian inner circle. Consistent with their keen intelligence and true to their Spanishness, these Aragonese masters transcend cultural specificity with a message of universal applicability, In a resounding condemnation of mankind's victimization by the agents of sociopolitical control, they reveal the gaping abyss separating cultural cliche from the reality of human suffering.
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Chang-Ta, Yang, and 楊昌達. "Integration of Extended Consciousness and Imaginary Spirit─Study In the Paintings of Francisco Goya Lucientes." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/70580146156691500993.
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碩士大葉大學
造形藝術學系碩士班
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To explore the main factors to influence Goya's unique creation of extended consciousness and imaginary spirit, and its influence to the offspring, the purpose of this thesis is as the following: 1)To explore the changing of Goya's creative style. 2)To explore the paintings of extended consciousness and imaginary spirit. 3)To explore the discrepancy between Goya's artistic creation and the others at that time. 4)To explore the Goya's historic position and influence to the offspring. The study explored Goya's life, creative theory, expressional contents and expressional forms。And especially study in the representative paintings of extended consciousness and imaginary spirit. The representative paintings of extended consciousness are “The sleep of reason produces monsters”,“Los caprichos”, and “The Colossus.” The representative paintings of imaginary spirit are “Leocadia”, “The pilgrimage of St. Isidore ” and “Saturn devouring his son.” With the different interpretation of detection Goya's genius and culture was too deep to be fathomable. I continued to explore and find out : 1) Lights and colors in Goya's paintings was enlighten of impressionism. 2) In Goya's paintings structure and composition effect on the later period painters very deep and far. 3) He is a pioneer of the engraving influence of the later period painters. 4) Subverted the traditions aesthetics, respresented the new appreciation of the beauty standard. To sum up, he was an outstanding portrait painter, creationary of genius, societal critic, expert on thought. Undoubtedly, Goya was an avant-garde artist and influence of the later period painters.
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Laliberté, Bianca. "Deux scènes de cannibalisme dans la peinture de Francisco de Goya y Lucientes : essai pictural sur la nature humaine." Thèse, 2016. http://hdl.handle.net/1866/18745.
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Ce mémoire vise à élargir, à l'aune d'une approche herméneutique jaussienne, l’interprétation de deux tableaux de Goya portant des titres qui leur ont été donnés a posteriori : "Cannibales montrant des restes humains" (1800-1808?) et "Cannibales préparant leurs victimes" (1800-1808?). Notre analyse se fonde en premier lieu sur une description de la matérialité des œuvres ; nous fournissons la première lecture de la relation entre ces tableaux et en défendons par ailleurs le statut de diptyque. Nous proposons ensuite une analyse critique de la réception des deux tableaux. Puis, dans la mesure où ces œuvres sont les premiers exemples où apparaissent en peinture des « sauvages » cannibales, nous explorons l'horizon iconographique du cannibalisme afin d'y chercher des images comparables. Cette tradition figurative paraît se réduire à trois catégories, à savoir: l’image coloniale, la caricature et la peinture mythologique. Ensuite, en partant de l'hypothèse répandue et héritée du romantisme que ces œuvres constituent des représentations de la nature humaine, nous tentons de les réinscrire dans l'horizon historique et philosophique dont est issue cette notion. Nous nous penchons tout spécifiquement sur les pensées philosophiques de Thomas Hobbes et de Jean-Jacques Rousseau, qui articulent des conceptions contraires de la nature humaine : si pour l’un, celle-ci est cruelle, pour l’autre elle est fondamentalement bonne. Ainsi, pourrons-nous mieux situer ces deux tableaux par rapport à cette notion à l’aune de son contexte d’émergence spécifique, notion que Goya a certainement découvert à travers les Ilustrados qui incarnent la philosophie des Lumières en Espagne. Nous désirons démontrer de quelle manière ces œuvres pensent et comment, par l'entremise de leurs propres moyens, elles en viennent à se distancier, en les dépassant, les horizons iconographique et philosophique dont elles participent.The present research project aims to broaden the interpretations of two paintings of Francisco de Goya, whose titles were attributed to them a posteriori: "Cannibals Gazing at their Victims" (1800-1008?) and "Cannibals Preparing their Victims" (1800-1008?). The analysis begins with a description of the materiality of the paintings. This section represents the first reading of the works’ structural connections, and suggests that the two images are in fact two parts of a diptych. We will then delve into a critical exploration of their reception. Since these images are the two first examples of cannibal figures inspired by colonial imagery to appear in the Western art historical tradition of painting, we explore the iconographical horizon of cannibalism in order to find comparable images, the likes of which are divided into three categories: colonial images, caricature, and mythological paintings. Afterwards, considering the widespread and romantic interpretation of these paintings as representations of human nature, we will attempt to reinscribe them within the historical and philosophical spheres from which this notion derives. We focus on the ideas of Thomas Hobbes and Jean-Jacques Rousseau, whose conceptions of human nature are contradictory towards each other. While Hobbes suggests that the nature of humanity is cruel, Rousseau deems it fundamentally good. This notion is one that Goya probably encountered himself while frequenting the Ilustrados – or, the more prominent figures of the Spanish Enlightenment. As a result, we will be able to situate the two paintings with respect to their specific context of emergence. Through the examination of these horizons, we aim to demonstrate the ways in which these two paintings think, and how, through their own resources, they deviate from – or even surpass – the iconographical and philosophical situations from which they hail, and to which they respond.
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Agustín-Lacruz, María-Del-Carmen. "Análisis documental de contenido de la imagen artística: Fundamentos y aplicación a la producción retratística de Francisco de Goya." Thesis, 2010. http://eprints.rclis.org/13766/1/TUZ_agustin_goya_1.pdf.
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This interdisciplinary research describes the theoretical and methodological foundations of content analysis of pictorial portraits, considering them as artistic texts whose visual and iconic discourse -with its properties, attributes, relationships, reference levels and representation systems- can be analyzed and verbalized through documentary representations in information systems.
It proposes a theoretical model of content analysis that identifies and analyzes the production, use and reception contexts of the pictorial portraits. Later on it develops an applied methodology, specifically documentary that allows, the writing of summaries and controlled describers as the systematizing of the required sources of information.
Finally it formulates an algorithm of analysis that works as standardized procedure and methodological norm. This algorithm systematizes the subject analysis and the documentary representation and sequences the levels of the later retrieval. It is a normalized format that structures the information in areas and later on in fields, each one of them picks up, as inventory, the relationships and the attributes.
The theoretical pattern and the analysis methodology have been applied on a representative sample of 80 portraits painted by F. de Goya, between 1783 and 1828.
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Watters, Mélina. "Les Taureaux de Bordeaux : violence et contagion au coeur de l'arène." Mémoire, 2011. http://www.archipel.uqam.ca/4238/1/M12053.pdf.
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Ce mémoire se penche sur la série des Taureaux de Bordeaux, réalisée en 1824 et 1825 par l'artiste espagnol Francisco Goya y Lucientes (1746-1828) lors de son exil dans la ville de Bordeaux. Elle est composée de quatre lithographies : El famoso Americano Mariano Ceballos, [Bravo toro], Divertissement espagnol et [Arène divisée] qui représentent chacune un épisode tauromachique. Le regard de ces œuvres sur la corrida est indissociable d'une violence incarnée par des spectateurs qui, au centre de l'arène, prennent part aux combats. Cette représentation des spectateurs s'avère particulière par rapport aux changements qui s'opèrent dans la corrida au XVIIIe siècle. Par exemple, son déroulement se codifie et le public doit maintenant rester dans les estrades. L'objectif de ce mémoire vise à comprendre pourquoi les Taureaux de Bordeaux s'attachent à une dimension violente pour aborder le thème tauromachique. Pour y parvenir, les approches historique, iconographique et anthropologique seront utilisées : la première montrera que l'artiste, en vivant dans un contexte violent (guerre d'Indépendance, par exemple), a pu en observer les répercussions sur les hommes; la seconde servira à déceler comment les lithographies représentent la corrida et la violence; la troisième posera les assises théoriques pour déterminer le type de violence propre à cette série, notamment par le biais de la pensée de l'anthropologue René Girard développée dans La Violence et le Sacré (1972). L'hypothèse défendue est que les Taureaux de Bordeaux représentent une violence destructive, propre aux conflits armés, plutôt qu'à celle qui est intrinsèque au spectacle tauromachique.
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MOTS-CLÉS DE L’AUTEUR : Francisco Goya y Lucientes (1746-1828), Taureaux de Bordeaux, lithographie, violence, René Girard, La Violence et le sacré, guerre d'Indépendance.
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Ogorzałek, Karolina. "„Na granicy dwóch światów” – Próba analizy twórczości filmowej Carlosa Saury." Praca dyplomowa, 2019. http://hdl.handle.net/11315/25917.
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Ze wstępu: "Na granicy dwóch światów – tymi słowami Karol Irzykowski rozpoczyna jedną z refleksji dotyczącą natury kina. Podkreśla w ten sposób, iż dzieło sztuki funkcjonuje nie tylko jako oderwane w czasie i przestrzeni od codziennego życia, ale również dzięki koncentracji na pozorze - „wypowiada niewypowiedzialne” . Podobnego stwierdzenia można użyć określając działalność artystyczną reżysera – Carlosa Saury, którego filmy stanowią trafne przykłady transgresji granic między rzeczywistością a fikcją. Przedstawiony w nich świat jest zarazem jeden i dwojaki, nie ma w nim rozgraniczenia między mistycznymi uniesieniami a zgrzytliwą rzeczywistością. To świat, który trwa i nie traci na aktualności, gdyż nie podlega koniunkturalnym ocenom. Jego dzieła stają się zatem dowodem na to, iż przekraczając próg rzeczywistości audiowizualnej przechodzimy w obręb innego uniwersum. Dokonuje się synteza obiektywnego z subiektywnym, materializacja wydarzeń jakby w przeciwnym kierunku – życie przemienia się w sztukę, natomiast sztuka przekształca się w życie. Tej właśnie tematyce pojmowania twórczości hiszpańskiego mistrza, jako wielopostaciowego konglomeratu realności i nierealności, poświęcona została niniejsza praca. Jednym z głównych motywów jej napisania była bowiem próba uchwycenia dorobku twórcy, pod wybranym, specyficznym kątem, jak również osobiste zainteresowania autorki tekstu, zarówno językiem, jak i kulturą hiszpańską. Zważywszy również na fakt, iż nie ma wielu monografii Carlosa Saury, praca ta pozwoliła przede wszystkim na zgłębienie wiedzy dotyczącej twórczości filmowca, należącego niewątpliwie do wielkiej formacji kina artystycznego. "(...)
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Ansel, Elisabeth. "Ein irischer 3. Mai? Jack B. Yeats’ Funeral of Harry Boland (1922) im Kontext der Stilkonstruktion einer irischen Moderne." 2019. https://tud.qucosa.de/id/qucosa%3A35262.
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Mitte der 1920er Jahre und im Kontext der irischen Unabhängigkeit erklärte der Kunstkritiker Thomas MacGreevy (1893–1967) den Maler Jack B. Yeats (1871–1957) zum Nationalkünstler Irlands und verglich sein Werk mit keinem Geringeren als dem Francisco de Goyas. Im Zuge dessen konstatierte er, „Yeats’ […] pictures such as A Republican Funeral will [one day] be considered as important a part of the nation’s history as Goya’s 3rd of May is to the Spanish art lover” (MacGreevy 7999/1, S. 8). Bemerkenswert ist dabei zunächst, dass MacGreevy die historischen Gegebenheiten im Spanien Goyas mit denen Irlands im 20. Jahrhundert gleichsetzte (MacGreevy 7999/1, S. 3). Zusätzlich aber reihte der Kritiker Yeats damit auch in eine künstlerische Traditionslinie ein, sei doch der Ire ebenso wie der spanische Hofmaler in der Lage gewesen, zeithistorische Ereignisse seiner Heimat in adäquater Weise in die eigene Kunst zu übersetzen (MacGreevy 7999/2, S. 3), wobei er dessen Bild A Republican Funeral auf eine Stufe mit dem wohl bedeutendsten Gemälde Goyas stellte.
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Occhietti, Raphaelle. "La Junte des Philippines de Goya (1815) : regard sur le pouvoir colonial espagnol et le capitalisme financier." Thèse, 2012. http://hdl.handle.net/1866/8513.
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Notre analyse de l’imposante toile de Francisco Goya L’Assemblée de la Compagnie Royale des Philippines dite La Junte des Philippines (1815) vise à sortir cette œuvre de l’isolement où les études antérieures l’ont en grande partie maintenue. Nous désirons réinsérer ce tableau au cœur des dynamiques artistiques et économiques mondiales à l’orée du XIXe siècle.
Le regard lucide que nous portons sur le tableau de Goya s’appuie sur une approche historique issue de la pensée postcoloniale actuelle. Par un renversement de perspective depuis la salle de réunion vers l’empire espagnol, nous plaçons l’œuvre dans une trame de relations mondiales entre la métropole et ses colonies. La Junte des Philippines révèle alors un point de vue particulier sur l’impérialisme espagnol en déclin.
Loin d’être close sur elle-même, l’œuvre articule une série de thématiques qui répondent aux exigences artistiques de l’époque, notamment de la bourgeoisie libérale. Le traitement qu’opère La Junte de la commémoration d’une rencontre d’actionnaires met au jour une conception visuelle du capitalisme mercantile et financier présent en Espagne et en Angleterre. L’intrigue artistique que déploie Goya possède une signification d’envergure historique qui contribue à la valeur d’actualité de La Junte des Philippines.This thesis is a study of Francisco Goya’s imposing painting The Assembly of the Royal Company of the Philippines, more commonly known as The Junta of the Philippines (1815). It seeks to remove the work from the isolation in which previous studies have largely kept it confined and to situate it at the core of the global artistic and economic nexus that marked the early nineteenth century. My account is informed by a historical approach that is anchored in current postcolonial theory. By inverting the painting’s perspective, to open it from the assembly room onto the Spanish Empire, I place the work at the centre of a rich web of global relationships that link the metropole and its colonies. Seen in this light, the Junta of the Philippines evinces a particular point of view of the Spanish Empire in decline. Far from being closed in on itself, the work articulates a series of themes that respond to the artistic demands of the time, namely those of the liberal bourgeoisie. Goya’s depiction of a meeting of stockholders expounds a particular visual conception of British and Spanish merchant and financial capitalism. The artistic intrigue that Goya weaves in The Junta of the Philippines reverberates on a broad historical scale that confirms the painting’s present-day relevance.
Nuestro estudio sobre la imponente pintura de Francisco Goya La Asamblea de la Compañía Real de Filipinas llamada La Junta de Filipinas (1815) pretende sacar esta obra del aislamiento donde los estudios anteriores lo mantuvieron en gran parte. Deseamos reinsertar este cuadro al corazón de las dinámicas mundiales artísticas y económicas al lindero del siglo XIX. La mirada lúcida que damos al cuadro de Goya se apoya en un enfoque histórico nacido del pensamiento poscolonial actual. Por una caída de perspectiva desde la sala de reuniones hacia el imperio español, colocamos la obra en una trama de relaciones mundiales entre la metrópoli y sus colonias. La Junta de Filipinas revela entonces un punto de vista particular sobre el imperialismo español en decadencia. Lejos de ser cerrada, la obra misma articula una serie de temáticas que responden a las exigencias artísticas de la época, particularmente de la burguesía liberal. El tratamiento que opera La Junta de la conmemoración de un encuentro de accionistas da a luz una concepción visual del capitalismo mercante y financiero presente en España y en Inglaterra. La intriga artística que despliega Goya posee un significado de envergadura histórica que contribuye al valor de actualidad de La Junta de Filipinas.
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Herbst, Michael. "Goya's grotesque : abjection in los Caprichos, Desastres de la Guerra, and los Disparates." Thesis, 1999. http://hdl.handle.net/10539/20926.
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Thesis (Ph.D.)--University of the Witwatersrand, Arts Faculty (Fine Arts), 1999My basic premise in this study is, if abjection is a psychosocial phenomenon, even a kind of waste category and mechanism, it should be discernible and analysable as an underlying structure in the form, iconography and purpose of works of art. Certain modes of art will manifest or express it more lucidly and abundantly than others. Satire and the Grotesque, which Goya adopts in his graphic Work, are especially fruitful in this regard. In both, one can find processes and states of degradation and vitiation that accord with the two facets of abjection Hal Foster (1996) so pragmatically terms the operation to abject and the condition to be abject. Satire, with its inclination to criticise political, social and ecclesiastical figures, can chiefly be interpreted in terms of the operation to abject (to lower, cast down, depose, sideline), while the Grotesque, displaying the distorted, monstrous, 'freakish', hybrid, impossible, relates more to tire condition to be abject. This conjunction between satire/the Grotesque and abjection guides my interpretation of Los Caprichos and Los Disparates. Los Caprichos, in which Goya took it upon himself to "censure" and "ridicule" "human errors and vices", are marked by a quite strict use of satire to criticise, mock and marginalise certain social groups (prostitutes, nobles and corrupt clerics, in particular). Since society, or the Symbolic that undergirds it, cannot do without the abject, either in its role as midden or as oppositional determinant or defining other, the satirical project cannot banish or destroy the abject; it can, however, bid and lobby for some degree of social reclamation and rejuvenation. The satirist depicts the grotesque, sordid, obscene, deviant, abandoned and licentious to indicate to the viewer/reader what s/h e must laugh off to live a decent, obedient, constructive and law-fearing life. Goya takes this aapproach in Los Caprichos. After all, in at least one letter to his friend Martin Zapater he hinted that he feared the "witches, goblins, phantoms, arrogant giants, knaves" and "scoundrels" of his society, and evidently felt a need to part from them. How deep this need ran one cannot say; many of his images suggest a degree of equivocation (he vacillates between being on the side of the law and on the side of Ms own more incorruptible conscience, from which he upbraids the law) and ambivalence (on the one hand, he scolds his objects of attack and appears to be repelled by them; on the other, he seems to relish depicting them in grotesque and blighted shapes, as if the satirical purpose is secondary to the opportunity his art provides to invent forms and get close to the forbidden, the anti-social, the rotten, the abject). In Los Disparates equivocation and ambivalence come more to the fore. Goya often appears most aggressively satirical in the Disparates when he questions corruption in social institutions such as tire Church and the law. Some images, notably Folhj of the Mass, juxtapose a wrathful figure with a mass of social ills, foibles and depravities, and seem characteristically satirical, but the majority of the etchings are striking in their lack of closure, as if a "state of unresolved tension", to quote Michael Steig, adequately rewarded Goya for the labour of production. Man xoandering among Phantoms, for example, is ambiguous and seems to sum up Goya's relationsMp to the abject toward the end of his life: through the surrogate of an old man, Goya appears to have struck a deal with the abject; submerged in it, corrupted by it, impure, but nevertheless sufficiently single-minded to find an identity separate from it. Complicit, but differentiated: all subjects stand in this way to the abject. In Los Desastres, especially given that I do not deal with the Caprichos Enfdticos section of the series, my interpretation is determined less by satire than by the question of how an antagonistic nation uses war as a mechanism of conclusive abjection to extend military, political and, ultimately. Symbolic influence - by means of sanctioned murder, execution, even rape - over another nation, w ith the aim of making that nation succumb to the abjection of surrender and the imposition of a foreign Symbolic. War also produces heaps of corpses and, in the occupied cities, ill and starving destitutes: those reduced to conditions of permanent or near-permanent abjection by war's ballistic exacerbation of the operation to abject. Contact with abjection through art strengthens, weakens and expands the self. It carries the threat of immersion in the repressed and the promise of risque pleasure - both from the diminution of unpleasure through the making or viewing of art, and the more positive pleasure of jouissance. Contact with abjection allows, further, for the complicated experience of being liminal, grotesque and abject oneself while caught between the poles of the Symbolic and tire abject. Whether we, as makers an d /o r viewers, criticise or joy in it, abjection holds out the alluring prospect of catharsis and temporary relief both from its own hazards and the rigours and inhibitions of social life. Goya, it would appear, found this intervenient condition compelling enough to return to it - if he ever truly left it - over a period of almost three decades through the medium of the three graphic series I explore in this dissertation.
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Alves, Maria Inês Nunes Pires. "Igreja do Espírito Santo do Convento de São Francisco em Velha Goa nos séculos XVI e XVII." Master's thesis, 2020. http://hdl.handle.net/10362/107517.
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Localizada no centro urbano daquela que seria a capital do Estado da Índia, a igreja do convento de São Francisco de Goa era parte integrante da casa-mãe dos franciscanos da Regular Observância na Ásia. Erguida entre 1520-1527 e reconfigurada posteriormente em 1661-1666, esta primeira igreja conventual construída na cidade sofreu diversas intervenções arquitectónicas durante os séculos XVI e XVII. Situado entre estas cronologias, o estudo tem por objectivo essencial analisar as formas que se fixaram nos diversos momentos da história do edifício, correlacionando acontecimentos e dinâmicas - quer da ordem religiosa como do espaço que ocuparam - que poderão ter estado na origem dessas escolhas.Placed in the urban center of what would be later the capital of the Estado da India, the church of the convent of Saint Francis in Goa was an integral part of the religious headquarters for the Franciscans of Regular Observance in Asia. Erected between 1520-1527 and later reconfigured in 1661-1666, this first conventual church built in the city underwent several architectural changes during the 16th and 17th centuries. Located between these chronologies, the main objective of this study is to analyze the different moments of the building's history, correlating it with events and dynamics - either of the religious order or of the spaces that it occupied - which could have been the origin of those choices.
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Šmejkalová, Adriana. "Zrcadlo reality v obrazech snů 19. a 20.století. Tvůrčí individualita versus chaos doby." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390075.
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ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...
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Silva, Rogério Paulo da 1962. "Objetos de memória : entre imagem estática e imagem em movimento." Master's thesis, 2018. http://hdl.handle.net/10451/33647.
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Acompanha um DVD com 3 videos relativos ao Trabalho de Projeto: eraser river ; i remenber ; vanishing, apenas consultáveis na Biblioteca da FBAUL com a cota CDA 197 - ULBA018409Objects of Memory is a master's dissertation in Multimedia Art with a theoreticalpractical nature, which we analyze the concept of memory associated with the postcard’s object. Starting from the aggregation of dichotomous concepts such as memory / myth and Gestalt / narrative unit, we explore relationships based in a construction of the visuality having as resource the static image and the moving image, which intersection is made from the photography with the video. For an interpretation of the postcard and its artistic faculties as an object, we evoke the Mail Art approaching the use of postcards by the Fluxus Group and by artists such as Robert Filliou and Ray Johnson, who in the late 1950s used postcards as artistic objects to communicate with other artists around the world. Gathering the works of Alain Resnais, Chris Marker, Marcel Broodthaers, Orhan Pamuk and Óscar Muñoz, we observed possible relations with the concept of memory within the scope of the project, specifically the work methodology inserted in narrative and visual discourse. For the Objects of Memory final project, we have been developed three videos - Eraser River, Vanishing and I Remember - each one representing a postcard to be projected through a device. From the intersection of images we explored a working methodology that allowed to create visual events with the purpose of transforming theperception of the postcard as a whole. For this, we connected static images (photography) with images in motion (video) through the process of cut, collage and assembly to ensure a logical and perceptive speech in the body’s postcard. Although independent, each one of these videos tries to express the concept of object of memory preserving, in this way, a relation with images of the past which appear analogous to the transformation of a still image into a moving image