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The Prado’s treasures, Black Paintings …

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a lonely man, worn out by years and illness, locked in his deafness,
moves away from the splendour of the Spanish court and walls himself up in his country house ...

Veröffentlicht in: Kunst & Fotos
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The Prado’s treasures, Black Paintings …

  1. 1. a lonely man, worn out by years and illness, locked in his deafness, moves away from the splendour of the Spanish court and walls himself up in his country house ...
  2. 2. The Prado’s treasures
  3. 3. Black Paintings …
  4. 4. the woman dressed in mourning and leaning against a burial mound represents Leocadia Weiss, Goya's partner after the death of his wife, Josefa the painting contains a sense of peace and air of reconciliation absent in the other works from the series is supposed that Goya himself to be lying in the grave, and that his Black Paintings are meant to be seen as messages from the hereafter Goya y Lucientes, Francisco de A Manola: Leocadia Zorilla Une manola: Léocadie Zorrilla 1820 – 1823 Museo del Prado, Madrid
  5. 5. we do not know exactly what is represented in this painting a series of grotesque characters who could be nuns and witches, go in procession to an undetermined place ... entitled "The Holy Office" on the basis of a character in the lower right corner, wearing the Inquisition habit Goya y Lucientes, Francisco de Pilgrimage to the Fountain of San Isidro or The Holy Office Procession à la source Saint-Isidore ou le Saint-Office 1820 - 1823 Museo del Prado, Madrid
  6. 6. probably the most enigmatic work of Goya ... Asmodeus, represented here as a female demon, transports Don Cleophas into the air, the two of them can enter people's intimacy and contemplate their vices Cleophas indicates on the hill a village that will be destroyed at the foot of the mountain extends a dark plain with fighting scenes, two soldiers in French uniforms attack a resistance group Goya y Lucientes, Francisco de Asmodea or Fantastic Vision Vision fantastique ou Asmodée 1820 - 1823 Museo del Prado, Madrid
  7. 7. a reinterpretation of the mythological subject of the goddesses of destiny—the Moirai Atropos, the inexorable goddess of death, who carries a few scissors to cut the thread of life; Clotho, with her distaff (which Goya replaces with a newborn child, possibly an allegory of life), Lachesis, which in this representation looks across a lens and symbolizes time, since she was the one who measured the length of the fiber to the three female figures suspended in the air a fourth figure is added, possibly male, with your hands tied if this interpretation is true, the fates would be deciding the destiny of the man whose bound hands cannot be opposed to his fate … all four are hideously ugly ! Goya y Lucientes, Francisco de Atropos or The Fates Les Moires Átropos ou Les Parques 1820 – 1823 Museo del Prado, Madrid
  8. 8. the traditional interpretation: two commoners fighting in a desolate place trapped knee-deep interpretation in Spain: a fratricidal struggle between Spaniards interpretation by Spanish intellectuals: a representation of death as an anticipation of the civil war Goya y Lucientes, Francisco de Duel with Cudgels, or Fight to the Death with Clubs Duel au gourdin ou la Rixe 1820 - 1823 Museo del Prado, Madrid
  9. 9. two elderly figures dressed in Friar's habits in the foreground a man with a sad but serene expression beside him a dark figure whose face appears animalistic or corpse-like, shouting into the ear of his companion … may be an allusion to Goya's deafness may be a demonic figure talking into his ears Goya y Lucientes, Francisco de Two Old Men Deux vieux 1820 - 1823 Museo del Prado, Madrid
  10. 10. a Pilgrimage to San Isidro ... a group of prominent figures in the night, apparently intoxicated and singing with distorted faces Goya y Lucientes, Francisco de The Pilgrimage to San Isidro La Procession à l'ermitage Saint-Isidore 1820 - 1823 Museo del Prado, Madrid
  11. 11. Satan dressed in clerical clothing he has a goat-like beard and horns and gaping mouth before him a circle of crouched and mostly terrified women, a coven of witches, some bow their heads in fear, others look towards him in open-mouthed and rapt awe Goya y Lucientes, Francisco de Witches' Sabbath, or the Great He-Goat Le Sabbat des sorcières ou le Grand Bouc 1820 - 1823 Museo del Prado, Madrid
  12. 12. two elderly figures, they are assumed to be men the mouth of the left figure is drawn into a grimace, possibly from lack of teeth the other figure hardly seems alive at all, its eyes are black hollows and the head bears the aspect of a skull Goya y Lucientes, Francisco de Two Old Men eating or Two Old Ones Eating Soup Deux vieillards mangeant de la soupe 1820 - 1823 Museo del Prado, Madrid
  13. 13. white flesh, red blood of the corpse ... Saturn Devouring His Son his mouth gapes and his eyes bulge widely area around his groin is indistinct (originally portrayed with a partially erect penis) various interpretations of the meaning of the picture: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its own children in wars and revolution Goya y Lucientes, Francisco de Saturn. Saturn Devouring His Son Saturne. Saturne dévorant un de ses fils ou Saturne dévorant son enfant 1820 – 1823 Museo del Prado, Madrid
  14. 14. a personal reinterpretation of the narrative of the Book of Judith a torch illuminates Judith's face and leaves in semidarkness the face of the old serving woman whose darkened outline is shown in prayer significantly, neither Holofernes nor the blood streaming from his neck is shown may be a work considered as an allusion by Goya to his lover (to Leocadia Zorrilla-Weiss' control over the old, sick and sexually impotent Goya); or more generally the power of castration of women over men Goya y Lucientes, Francisco de Judith and Holofernes Judith et Holopherne 1820 - 1823 Museo del Prado, Madrid
  15. 15. three figures ... two women, probably prostitutes, with mocking expressions and broad sinister smiles looking at a man who appears to be masturbating Women Laughing is often seen as a companion work, a feminine counterpart to Men Reading Goya y Lucientes, Francisco de Two Women and a Man or Women Laughing Femmes riant ou Deux femmes et un homme 1820 - 1823 Museo del Prado, Madrid
  16. 16. a group of six men huddled together reading a printed page ... often seen as a male counterpart to the feminine Two Women Women Laughing shows two hags mocking a man in the act of masturbating, while in Men reading the incessant talk of the politicians was perhaps, in Goya’s eyes, as sterile as the solitary pleasure which the women are making fun of ... Goya y Lucientes, Francisco de Men Reading Hommes lisant 1820 - 1823 Museo del Prado, Madrid
  17. 17. the most enigmatic of the Black Paintings ... a dark gray dog in front of an empty and naked space a symbolic depiction of man's futile struggle against malevolent forces a portrait of solitude, of the inevitability of death a frightful picture of helplessness and despair, of abandonment, loneliness, and neglect a picture about bare survival in the face of hopeless doom Goya y Lucientes, Francisco de The Drowning Dog Le Chien 1820 - 1823 Museo del Prado, Madrid
  18. 18. olga_oes The Prado’s treasures, Black Paintings … images and text credit www. Music Lux Aeterna (Requiem for a Dream) Clint Mansell created olga.e. thanks for watching
  19. 19. The Black Paintings (Spanish: Pinturas negras) is the name given to a group of fourteen paintings by Francisco Goya from the later years of his life, likely between 1819 and 1823. They portray intense, haunting themes, reflective of both his fear of insanity and his bleak outlook on humanity. In 1819, at the age of 72, Goya moved into a two-story house outside Madrid that was called Quinta del Sordo (Deaf Man's Villa). Although the house had been named after the previous owner, who was deaf, Goya too was nearly deaf at the time as a result of a fever he had suffered when he was 46. The paintings originally were painted as murals on the walls of the house, later being "hacked off” the walls and attached to canvas.They are now in the Museo del Prado in Madrid. After the Napoleonic Wars and the internal turmoil of the changing Spanish government, Goya developed an embittered attitude toward mankind. He had a first-hand and acute awareness of panic, terror, fear and hysteria. He had survived two near-fatal illnesses, and grew increasingly anxious and impatient in fear of relapse. The combination of these factors is thought to have led to his production of the Black Paintings. Using oil paints and working directly on the walls of his dining and sitting rooms, Goya created works with dark, disturbing themes. The paintings were not commissioned and were not meant to leave his home. It is likely that the artist never intended the works for public exhibition. Goya did not give titles to the paintings, or if he did, he never revealed them. Most names used for them are designations employed by art historians.
  20. 20. in all probability, the fifteenth Black Painting. It became separated from the other paintings and is now in the collection of Stanley Moss in New York City Goya y Lucientes, Francisco de Heads in a landscape Têtes dans un paysage Cabezas en un paisaje 1820 - 1823 Collection Stanley Moss, New York