Black Paintings

src: charliesmithlondon.com

The Black Paintings (Spanish: Pinturas negras ) is the name given to a group of fourteen paintings by Francisco Goya from the last years of his life, possibly between 1819 and 1823. They portray an intense and haunting theme, reflecting his fear of his madness and his grim outlook on humanity. In 1819, at the age of 72, Goya moved into a two-story house outside Madrid called Quinta de Socio ( Villa Deaf Man ). Although the house was named after the previous owner, the deaf, Goya was also almost deaf at the time as a result of the illness he suffered when he was 46 years old. The paintings were originally painted as murals on the walls of the house. , then "hacked from the wall and taped to the canvas." They are currently being held at the Museo del Prado in Madrid.

After the Napoleonic Wars and internal turmoil of the altered Spanish government, Goya developed an attitude of hurt toward mankind. He has first-hand awareness and acute panic, terror, fear, and hysteria. He survived two near-fatal illnesses, and became increasingly anxious and impatient for fear of relapse. The combination of these factors is thought to have led to the production of fourteen works known collectively as Black Painting.

Using oil paints and working directly on the dining room wall and his living room, Goya creates works with a dark, disturbing theme. The paintings were not commissioned and were not meant to leave his home. It is likely that artists were never intended for works for public exhibition: "... these paintings are as close to being hermetically private as ever produced in the history of Western art."

Goya does not name the painting, or if she does it, she never reveals it. Most names used for them are references used by art historians. Originally, they were cataloged in 1828 by Goya's friend, Antonio Brugada. The series consists of the following images: Atropos (The Fate) ( ÃÆ' tropos/Las Parcas ), Two Old Men < Dos viejos/Un viejo y un fraile ), Two Old Men Eating Soup ( Dos viejos comiendo copa ), Fight with Cudgels < > ( Duelo a garrotazos/La riÃÆ'Â ± a ), Saber Witch ( Aquelarre/El Gran Cabrón ), /i> ( Hombres leyendo ), Judith and Holofernes ( Judith y Holofernes ), Ziarah to San Isidro La romerÃÆ'Â de de San Isidro ), Laughter Woman , Holy Office Processor ( PeregrinaciÃÆ'³n ) < Perro semihundido/El perro ), Saturn Eating his Son > ( Saturn devorando a un hijo ), La Leocadia (Una manola: doÃÆ' Â ± a Leocadia Zorrilla ) , and Fantastic Vision ( VisiÃÆ'³n fantÃÆ'¡stica/Asmodea ).

Video Black Paintings

Gambar dari Lukisan Hitam

Maps Black Paintings

Sejarah Lukisan Hitam

In 1823 Goya handed over the house, along with the mural, to his grandson Mariano Goya, presumably to protect the house from possible retaliation after the restoration of absolute monarchy and the suppression of liberals by supporters of Fernando VII of Spain. The paintings were less well known for half a century. Only certain art critics, such as Charles Yriarte, wrote about them.

The slow process of transferring the mural to the canvas began in 1874. It was carried out under the supervision of Salvador MartÃÆ'nez Cubells at the request of Baron ÃÆ'â € ° mile d'Erlanger, a French banker of German origin, who wanted to sell it at the Paris World's Fair in 1878. However, 1881 barons donate paintings to the country of Spain and they are now on display at the Museo del Prado.

src: i.ytimg.com

The Black Paintings in the original setting

Goya acquired a villa on the banks of the Manzanares River, near the Segovia bridge and with a view of the San Isidro plain, in February 1819. He had suggested that he buy a house to avoid public attention; he lives there with Leocadia Weiss, though he is still married to Isidoro Weiss. It is thought that Goya has a relationship with him and perhaps a daughter, Rosario. It is not known exactly when Goya started painting Black Paintings Black . It is possible that he began working on a mural between February and November 1819 when he fell severely ill as witnessed by disturbing self-portraits with Dr. Arrieta (1820). What is known is that the mural is painted over a rural scene containing small figures when Goya makes use of the sights on some of his murals like Fight with Cudgels .

If a brightly colored bucolic painting is also a work of Goya, perhaps his illness and the turbulent Trienio Liberal make him paint over it. Bozal has suggested that the paintings were also painted by Goya because this is the only way to understand why he is using them again. However, Nigel Glendinning considers that the paintings "already adorn the walls of Quinta del Sordo when he bought it." Whatever the truth, the mural of the Black Painting probably dates from 1820 and probably finished no more than 1823 when Goya, left for Bordeaux, left the villa for his grandson Mariano, perhaps out of fear of retaliation after the fall of Rafael Riego and the republican army. Mariano de Goya transferred ownership of the villa to his father, Javier de Goya in 1830.

A recent theory links the authorship of the painting to Javier de Goya, the painter's son. Bozal and Glendinning, the two greatest experts in Goya's work, rejected this hypothesis. It is hard to imagine that Goya's contemporaries are unaware of this remarkable act of creativity. Painting techniques, brushstrokes, strange human figures and obsessive themes already in Goya's work give little reason to believe that the work can be attributed to Javier de Goya.

Inventory Antonio Brugada mentions seven murals on the ground floor and eight on the top floor. However, only fourteen paintings reached the Museo del Prado. Charles Yriarte also explains additional paintings for those currently known in the collection; he pointed out that when he visited the villa in 1867, it was removed from the wall and taken to the Marquis of Salamanca's Vista Alegre Palace. Many critics assume that because of the size and theme of the lost painting it should be identified as Head in the landscape (New York, Stanley Moss collection).

Another problem regarding the location of the painting revolves around a painting called Two Old Eating Men Soup ; there is uncertainty whether it is painted on the doorstep on the upper or lower floors. Apart from this, the original distribution of the mural at Quinta del Sordo is as follows:

• Ground floor : This is a rectangular space. On two long sides there are two windows near the shorter wall. Between these windows, there are two great murals in scenic form: Pilgrimage to San Isidro on the right when facing the mural and Witches' Sabbath on the left. In the back, on the smaller wall opposite the entrance, there is a window in the middle with Judith and Holofernes on the right and Saturn Devouring His Son on the left. La Leocadia is located on one side of the door (across Saturn) and Two Old Men opposite Judith.
• First floor : The size is the same as the ground floor, although there is only one main window in the long wall with a mural on each side. The right-hand wall as one entrance contains the Fantastic Vision closest to the entrance with the Holy Office Procession outside the window. On the left is Atropos (The Fate) and Fight with Cudgels . On the short wall behind it is possible to see the Laughing Woman on the right and Male Reading on the left. To the right of the door is The Dog and to the left Head in landscape .

Two Old Eating Men Soup must be on one of the doors; Glendinning had suggested that it was above the door on the ground floor because of the painted paper design that appeared in Laurent's photo of the murals.

Information can be obtained from a written testimony of the distribution and original state of the mural as well as from an inventory of in situ photography by Jean Laurent in 1874. The photographs were commissioned by Baron de Erlanger when he employed MartÃÆ'nez Cubells to transfer the painting. Laurent's photos are an accurate representation of the process of moving the mural to the canvas. Art historian Gregorio Cruzada Villaamil and Charles Yriarte have been concerned for at least ten years that the rise in property prices in the area will result in the redevelopment of the villa and the loss of paintings.

It is possible to see in Laurent's photographs that the murals are framed with borders painted in classical designs such as doors, windows and decorations over doors. The walls are lined like a custom in bourgeois and aristocratic homes, probably with wallpaper from Qibla Paper Factory which is protected by Fernando VII. The ground-floor paper is adorned with fruity and leaf motifs and the first floor is adorned with geometric drawings arranged in diagonal lines. The photographs also documented the state of the image before they were moved, showing, for example, that most of the right side of Witches' Sabbath had not been conserved, even though it was transferred to canvas by MartÃÆ'nez Cubells.

src: i.ytimg.com

Contextual analysis

Perhaps the most famous of the Black Paintings is Saturn Devouring His Son . The picture depicts Titan Kronos (or Saturn in Roman mythology), the father of Zeus, eating one of his sons. Fearing a prophecy that one of his sons would overthrow him, Saturn ate each of his sons when they were born. Goya describes this act of cannibalism with a shocking cruelty. The background is black while the limbs and the head of Saturn appear out of the shadows. Saturn's eyes are huge and protruding as if he's crazy. His fingers dug the back of his son whose head and right arm were consumed. Saturn will take another bite from the left arm of the body. The only use of color beside the flesh tones is a splash of red blood covering the mutilated lines from the upper part of a partially eaten, immobile body that is coldly portrayed in lethal white.

Goya's other works of this series are known as Witches' Sabbath or The Great He-Goat ( ). Rumbling and gloomy, this illustration of the earth depicts the ancient belief that the Sabbath is a meeting of magicians overseen by Satan who takes the form of a goat. This goat is painted entirely in black and appears as a silhouette in front of the coven of witches and warlocks. They have sunken eyes and dreadful features, and appear to be huddled together, leaning toward the devil. Only one girl seemed to be against the crowd. He sits on the far right, dressed in black. Although he does not appear to be involved in the ritual, he seems to be captivated by the group's relationship with Satan.

Not all Black Paintings share limited color from the previous two examples. Struggling with Cudgels shows the dramatic use of Goya with different blue and red shades as two men beat each other. While in the original version they fought in the meadow, the painting was damaged during the transfers and the Prado version has been repainted, emphasizing the clamor of the fighters, unable to escape from each blow due to their knee-high pitfalls. in a quagmire. It has been regarded as a harbinger of Spain's two fights that will dominate the next decades. Fantastic Vision also uses bright reds in the clothes of one of the two giant figures hovering over a group of horsemen and also in the loot cap of a looter aiming at these numbers.

From 1820 onwards, his contemporaries increasingly appreciated Goya as he developed the Sturm und Drang style in his paintings. The idea behind the Sturm und Drang movement was developed by Edmund Burke in his book A 175 Philosophical Inquiry in the Ideas of the Beautiful and Sublime (1757) and the influence of this movement extended throughout Europe during the second half of the eighteenth century. During the originality of the romantic period in an artist it is appreciated above all and writers like Felipe de Guevara demonstrate contemporary tastes for work by saturnine artists whose sorrow leads them to produce works full of "pretenses and hopeless desires never before imagined."

Art critics unanimously agree that certain psychological and social influences lie behind the creation of the Black Painting. Among the first was the painter's awareness of physical degeneration, emphasized by his cohabation with a much younger woman, Leocadia Weiss. The serious Goya disease of 1819 marked the beginning of this decline; it hit him and made him weak and almost dead. This busyness is reflected in the use of colors and choice of Goya subjects.

From a sociological point of view, it all shows that Goya painted these murals after 1820 and after recovering from his illness, though there is no definitive proof of this. The satirical treatment of religion (pilgrimage, procession, Inquisition) and civil confrontation (as in Struggling with Cudgels , or conspiratorial meetings visible in male reading , even taking into account the political can be applied to Saturn : the country that devours the subject or its citizens) in accordance with the unstable position that Spain finds itself in following a constitutional uprising led by Fernando Riego. In fact, a time when Spain was ruled by a liberal government (Trienio Liberal which lasted from 1820-1823) coincided with the creation of a mural. It must therefore be taken into account the possibility that the theme and tone of the painting is made possible by the absence of increasing political criticism with the restoration of absolute monarchy. On the other hand, many of the characters in the Black Paintings (the duelers, the weak old man, the nuns, spies and Inquisition informants) represent the world deemed obsolete by the French Revolution.

Themes

Despite a number of attempts, no thorough interpretation of the series in its original context has been widely accepted. This is partly because the exact layout of the mural is still subject to conjecture but mainly because of ambiguity and difficulty in finding the exact meaning of many paintings. This means that the whole meaning of the paintings remains a puzzle. Having said this there are a number of interpretations worth considering.

Glendinning has suggested that Goya decorate the villa according to the podium found in the palaces of the nobles and upper middle class houses. According to this rule, and considering that the ground floor is used as a dining room, the theme of the painting should be in accordance with its environment. This means that the paintings should be village views (the villa is located on the banks of the Manzanares River across the San Isidro plain) and the paintings are still alive and the representation of the banquet refers to the function of the room. Although Goya does not explicitly deal with these themes Saturn Devouring His Son and Two Old Men Eating Soup represents the act of eating, albeit in an ironic way using black humor. In addition, Judith killed Holofernes after inviting her to the banquet. Another painting reverses traditional rural landscape and is linked to the nearby hermitage dedicated to the patron saint of Madrid: Pilgrimage to San Isidro , The Procession of the Holy Office and even Leocadia , whose grave could relate to a cemetery near the hermitage.

Seen from another point of view, the ground floor is less bright and most of the paintings it contains have dark backgrounds (with the exception of Leocadia where the main figure is dressed in black and standing next to what may be a tomb, perhaps Goya's). Therefore, the presence of death is felt strongly like the old age approach. Loss of sexual potency also exists, according to Freudian interpretations through relationships with young women who will live longer and even castrate older men (Leocadia and Judith respectively). Old men who ate soup, two other "old men" in eponymous paintings and old Saturn all represent masculine figures. Saturn is also a god of time and a melancholy incarnation, related to the black bile, which we today call depression.

On the first floor, Glendinning highlights the difference between laughter and tears (satire and tragedy) and between the worldly elements and those in the air. The first dichotomy is represented by Reading Men with a serious atmosphere, which is opposed by Laughing Woman . These are just two dark paintings in the room and they represent models used to measure other murals, because they are the first paintings seen when someone enters the room. In the same way, the mythological scene of Fantastic Vision and The Fate represents tragedy, while other paintings such as The Holy Office Procession provide a glimpse of the satirical scene. Regarding the two contrasts, there are numbers suspended in the air in the two paintings mentioned earlier and others buried or apparently rooted in the ground as in the Duel with Cudgels Holy Office i > or Dog . However, none of these hypotheses satisfy solving puzzles about a unifying theme for painting.

Style

The only unifying constant among all paintings is the style element. The composition of these paintings is very innovative. The numbers usually appear outside the center, with the most obvious example of this being the Head in the Landscape where five heads are grouped in the bottom right corner of the painting that appears to be disconnected or will leave the frame. This lack of balance shows a very modern composition style. Other paintings where the numbers are for one side include Pilgrimage to San Isidro where the main group is from the center to the left, The procession of the Holy Office where the main group is to the right and even The Dog where empty space occupies most of the vertical space, leaving a small area below for slopes and semi-submerged heads. His composition also pockets on the The Fate , Fantastic Vision and even the original from Witches' Sabbath , even though the unevenness was lost when the painting was cut after 1875, though the painting was removed entirely.

Many of the scenes depicted in Black Painting are nocturnal, indicating the absence of light, the dead day. This is true of the Pilgrimage to San Isidro , the Wizarding Sabbath and Pilgrimage from the Holy Office (afternoon retreat to sunset) where the black background is highlighted relationship with light death. All this creates a feeling of pessimism, terrible vision, about enigma and unreal space.

The faces of people show a reflective or ecstatic attitude. The numbers in the last condition have eyes wide open and their disciples are surrounded by white; their mouths open, their faces are caricature, animal and strange. We are faced with the digestive tract, something that is not recognized by academic norms. Goya shows us the ugly, the terrible; there is no beauty in art, only "pathos" and certain intentions to display all aspects of human life, including those aspects that make us feel uncomfortable. Bozal, not in vain, has called it the secular Sistine Chapel where salvation and beauty have been replaced by clarity and awareness of solitude, old age and death.

The chromatic range Black Paintings is limited to ocher, gold, brown, gray and black. Only occasionally white shine from clothing to give contrast or rare blue streaks from the sky or green from the landscape.

All of these features are a demonstration of the characteristics that are currently regarded as the precursors of expressionism expressions. This is because Goya's work is coherent, especially in the way art critics appreciate it, and because of the impact it has on modern painting. It can be argued that in this series Goya goes further than ever in realizing his revolutionary ideas and innovative approach to pictorial art.

src: i.pinimg.com

Theories about provenan

Though it is generally believed that Black Painting is Goya's work, art professor Juan JosÃÆ'Â © Junquera has questioned their authenticity. After doing research on Black Painting to write his eponymous book, he concluded that "This is a fake painting". One of Junquera's main arguments is that the Quinta del Sordo villa has only one floor during which time Goya lives at home. According to the professor, Goya's purchase contract for Quinta, the transfer deed to his only grandson, Mariano, and property-related documents at the time of Mariano's marriage in 1830 described a house with only one floor. The second floor was added after Goya's death, according to Junquera's research: "If the upper floors do not exist in Goya times, of course they are (Black painting not by Goya." Junquera also states that there was no testimony by Goya's contemporaries about < i> Black painting The hypothesis is that Goya's son Javier, who has full access to the villa and knowledge of the teacher's techniques and oeuvre, created the paintings.Javier's son Mariano, described as a wasteful, may pass through it as a Goya or perhaps Javier himself uses the paintings (even if he does not paint them) to get a higher price for the house Manuela Mena, senior curator of 18th century paintings at Museo National del Prado, speaks of this issue , commented: "We can not send the The Dog to the museum basement because it does not seem - on the second floor of the Quinta."

src: ka-perseus-images.s3.amazonaws.com

Note

src: www.benschonzeit.com

Bibliography

• Arnaiz, Josà © Ã… © Manuel, Las pinturas negra de Goya , Madrid, Antiqvaria, 1996. ISBNÃ, 978-84-86508-45-6
• Benito Oterino, AgustÃÆ'n, La luz en la quinta del sordo: estudio de las formas y cotidianidad , Madrid, Universidad Complutense, 2002. EdiciÃÆ'³n ISBN digital 84-669-1890-6
• Bozal, Valeriano, Francisco Goya, vida y obra , (2 vols) Madrid, Tf., 2005. ISBNÃ, 84-96209-39-3.
• -, Â «Pinturas negrasÃ,» de Goya , Tf. Editor, Madrid, Tf., 1997. ISBNÃ, 84-89162-75-1
• Ciofalo, John J. "Blacken Myths, Mirrors, and Memories". In: Self-portrait of Francisco Goya . Cambridge University Press, 2001.
• Connell, Evan S. Francisco Goya: A Life . New York: Counterpoint, 2004. ISBNÃ, 1-58243-307-0
• Cottom, Daniel. Inhumane culture . University of Pennsylvania, 2006. ISBNÃ, 0-8122-3956-3
• Glendinning, Nigel, "The Strange Translation of the Goya's Black Paintings», Burlingon Magazine , CXVII, 868, 1975.
• -, Interpretation of Goya Black Paintings , London, Queen Mary College, 1977.
• -, Goya y sus crÃÆ'ticos , Madrid, Taurus, 1982.
• -, Ã,  «Home Country Goya in Madrid. The Quinta del Sordo  », Apollo , CXXIII, 288, 1986.
• -, Francisco de Goya , Madrid, Cuadernos de Historia 16 (col. Ã, Â «El arte y sus creadoresÃ,», nº 30), 1993. D.L. 34276-1993
• Hagen, Rose-Marie y Rainer Hagen, Francisco de Goya , Colonia, Taschen, 2003. ISBN 3-8228-2296-5.
• Hughes, Robert. Goya . New York: Alfred A. Knopf, 2004. ISBNÃ, 0-394-58028-1
• Licht, Fred. Goya: The Origin of Modern Temper in Art. Universe Books, 1979. ISBNÃ, 0-87663-294-0
• Stoichita, Victor & amp; Coderch, Anna Maria. Goya: The Last Carnival . London: Reakton Book, 1999. ISBNÃ, 1-86189-045-1
• Wilson-Bareau, Juliet. Goya Prints, Tom Harris Collection at the British Museum . London: British Museum Publications, 1981. ISBNÃ, 0-7141-0789-1
• Yriarte, Charles, Goya, sa vie, son oeuvre , Parous, Henri Plon, 1867; translated into Spanish by Enrique Canfranc and Lourdes LachÃÆ'Â © n, Goya , Zaragoza, Departamento de EducaciÃÆ'³n y Cultura, 1997. ISBNÃ, 84-7753-644-9.

src: f4.bcbits.com

External links

• painting Francisco de Goya Black in "Quinta del sordo"
• Blanca Flaquer (dir.), Valeriano Bozal (assessor), Ã, Â «Las Pinturas Negras, de Francisco de GoyaÃ,» [vÃÆ'deo en lÃÆ'nea], Unseen mitigate , www.rtve.es, 3 de enero de 2011, y 17 de marzo de 2012. Consulta: 25-03-2012.
• Visita virtual a la Quinta del Sordo.
• CatÃÆ'¡logo de obras de Goya de la Universidad de Zaragoza en lÃÆ'nea.
• Â «Pinturas negrasÃ,», poema de Antonio Buero Vallejo.
• Black Painting
• Valeriano Bozal, Ã, Â «Pinturas negrasÃ,», Enciclopedia en lÃÆ'nea , Museo del Prado, 2004-2008.

Source of the article : Wikipedia