Academic literature on the topic 'Quixotic iconography'

This paper explores the iconography of two prints owned by Haydn, the traditions to which they belonged and their aesthetic consequences. The prints depict two contrasting audiences, one amused and the other despondent, and feature a range of iconographic references that Haydn would have readily responded to, including such themes as the death of Dido, the world of Tristram Shandy, the madness of Orlando and Don Quixote, the humorous verse of Peter Pindar (one of Haydn’s librettists) and inevitably (in prints of this kind) contemporary English politics. A particular point of interest is a caricature of Edward Topham, an amateur caricaturist and founding editor of the influential newspaper The World , featured in one of the prints. In a series of issues in the late 1780s The World published a ‘correspondence’ with Haydn himself, which sought to undermine the composer’s suitability for composing with London audiences’ in mind. The print may have helped serve to remind Haydn of this dispute at the time he actually began composing in London and to aid him in keeping such audiences in mind when composing for them.

RESUMENEste ensayo explora las dos intervenciones de Goya en el mundo de Don Quijote: el grabado que le solicitó la Academia para su magnífica edición de 1780 —que nunca fue publicado— y el dibujo que hizo Goya en la última página de uno de sus cuadernos (el álbum F), dibujo que hoy se encuentra en el British Museum, pero que fue copiado y grabado por Bracquemond hacia mediados del siglo XIX. El ensayo se inicia con una visita a la biografía del pintor y se detiene en algunos aspectos tal vez conflictivos de la misma, para pasar después a la presentación y análisis de los grabados con el objetivo de proporcionar alguna explicación de sus diferentes avatares y de sus cuestionables aportaciones.PALABRAS CLAVEFrancisco de Goya, Don Quijote, grabados, dibujos, Cervantes, recepción, iconografía. TITLEDon Quixote in Goya's handsABSTRACTThis paper explores two Goya’s images on Don Quixote: first, the drawing requested by the Spanish Royal Academy for the 1780 edition of the novel, etched by Frabregat that was never published. Second, a drawing on the last page of his album F. The original is held at the British Museum, though it was copied and etched by Bracquemond in the 19th century. My paper revisits Goya’s biography and particularly his inclusion among the afrancesados, a conflicting topic about his life. Then I analyze both images in order to provide some explanation on their significance and transcendence.KEY WORDSFrancisco de Goya, Don Quixote, etchings, drawing, Cervantes, reception, iconography.

This paper proposes that Picasso’s landmark 1907 painting, Les Demoiselles d’Avignon, is full of images of books and pages, especially at the borders of the canvas. The curving shapes which are traditionally seen as “curtains” can alternatively be interpreted as the white pages and brown paper wrappers of open books, rotated 90 degrees. This “visual marginalia” suggests that Picasso’s famous brothel scene could be regarded as a semiotic construction, befitting the painting’s early title (devised by Picasso’s writer friends), “The Philosophical Brothel”. The painting also contains iconographic representations of textuality. A slightly open book can be perceived in the middle of the painting, and along the bottom border, an open envelope and writing paper can be seen laid atop the tipped-up table, under the fruit. I claim that Picasso’s images of texts derive from his acquaintance with the text-driven, monumental novel, Don Quixote. I give special attention to the narrative Author’s Preface to the Spanish literary classic, in which the author describes assembling quotations from diverse sources to compose the first and last pages of his book. Picasso visually represents this allusion by depicting pages at the left and right “ends” of his canvas. Other texts and images are considered as sources for the bibliographic imagery, which generally suggests that this canvas as a fictive tissue of quotations, akin to the overabundance of texts that Don Quixote is reading in Cervantes’s novel. The image of the blank writing paper and its envelope, finally, encourages viewers to see the painting as a letter of communication, for which we ourselves must provide the writing that would represent our interpretations.

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Spanish

Le Don Quichotte de Cervantès a inspiré tous les domaines artistiques du XIXème siècle (1789-1914). Le choix de regrouper dans un même corpus les arts graphiques et plastiques, les arts populaires, les arts du spectacle et cinématographiques, permet de voir comment les arts s’influencent, se répondent ou s’opposent. Le Don Quichotte est, comme tout sujet littéraire traité dans les domaines artistiques, confronté à son image littéraire, celle créée par son auteur. Notre volonté est de distinguer comment se profilent puis se figent les caractéristiques physiques des personnages principaux au cours du XIXème siècle et ce, principalement en France.Les artistes sont amenés à interpréter le texte. Ils se détachent de l’image littéraire pour s’intéresser aux possibilités plastiques et iconographiques qu’offre le roman de Cervantès. Au-delà de la traduction plastique d’un texte littéraire, l’enjeu est de comprendre comment les artistes parviennent à s’insérer dans la pensée de leur société, c'est-à-dire comment ils arrivent à influer sur la lecture d’une œuvre littéraire. En comparant l’iconographie de don Quichotte à celle d’autres héros, il s’agit de voir en quoi le personnage créé par Cervantès permet aux artistes de se réapproprier cette silhouette et à quelle fin. Son image est largement exploitée dans les domaines de la publicité et de la caricature. L’étude vise à saisir par quels moyens les deux héros vont se retrouver transposés dans une société pour en faire, tantôt la critique, tantôt l’apologie, au gré des contingences politiques, économiques et sociales, voire oniriques ou fantaisistes, c'est-à-dire sans substrat critique et par pure référence ludique<br>The Don Quixote of Cervantes has inspired all fields of arts of the nineteenth century (1789-1914). The choice to group in one corpus the visual arts, popular arts, performing arts and film, let us see how the arts influence, answer or oppose each other. The Don Quixote is, like any literary subject within the arts, confronted with his literary image. Our desire is to distinguish the emerging profiles of the main characters of nineteenth century France and then analyse their physical characteristics.Artists are asked to interpret the text. They detached themself from the literary image and have greater interest in the visual and iconographic opportunities offered within the novel of Cervantes. Beyond the visual translation of a literary text the challenge is to understand how artists manage to fit into the thinking of their society, or in other words, how they can influence the reading of a classic work of literature. By comparing the iconography of Don Quixote through other heroes we can understand how the character allows artists to adapt this figure and for what purpose. His image is widely used in the fields of advertising and caricature. The study aims to understand the means by which the two heroes will find themselves transposed into a society to make, sometimes critical, sometimes complientary comments, according to the political contingencies, or economic, social, even whimsical and fantastical i.e. without a basis of critical reference and amusing

abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics. The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style. The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre.<br>Dissertation/Thesis<br>Doctoral Dissertation Spanish 2017

First functioning as image based text and then as a widely illustrated book, the impact of the literary figure Don Quixote outgrew his textual limits to gain near-universal recognition as a cultural icon. Compared to the relatively small number of readers who have actually read both extensive volumes of Cervantes´ novel, an overwhelming percentage of people worldwide can identify an image of Don Quixote, especially if he is paired with his squire, Sancho Panza, and know something about the basic premise of the story. The problem that drives this paper is to determine how this Spanish 17^(th) century literary character was able to gain near-univeral iconic recognizability. The methods used to research this phenomenon were to examine the character´s literary beginnings and iconization through translation and adaptation, film, textual and popular iconography, as well commercial, nationalist, revolutionary and institutional appropriations and determine what factors made him so useful for appropriation. The research concludes that the literary figure of Don Quixote has proven to be exceptionally receptive to readers´ appropriative requirements due to his paradoxical nature. The Quixote’s “cuerdo loco” or “wise fool” inherits paradoxy from Erasmus of Rotterdam’s In Praise of Folly. It is Don Quixote´s paradoxy that allows readers and viewers to choose the aspects of the protagonist that they find most useful. Some of that difference in interpretation has been diachronic, starting with a burlesque view of Don Quixote as the insane hidalgo, later developing a romantic interpretation of the protagonist as a noble knight. Much of that difference has been geographical, with Spanish appropriators tending to reflect Don Quixote as a heroic reflection of national character, and many outside of Spain choosing to use the knight as a symbol of impracticality and failure. Ultimately, Don Quixote´s long lasting influence has been due to his ability to embody the best of the human spirit; the desire to fashion oneself into a more noble identity and achieve greater deeds than one´s cultural environment would normally allow.