Goya

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A new and profusely illustrated appraisal of this leading Spanish painter and graphic artist."As a draftsman and painter, Goya favors the human passions, whether uninhibited or suppressed, repressed or repressing." Thus does Werner Hofmann describe the essence of the vast oeuvre left behind by Francisco Goya y Lucientes (1746-1828), pointing to the source of its vital energy, alarming immediacy, and striking modernity. Discussions of Goya in recent decades have centered on his influence on nineteenth- and ...
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2003 Hardcover New 0500093172 THAMES HUDSON (37914) Weight: 2300g. / 5.07lbs Great Customer Service! *****PLEASE NOTE: This item is shipping from an authorized seller in ... Europe. In the event that a return is necessary, you will be able to return your item within the US. To learn more about our European sellers and policies see the BookQuest FAQ section***** Read more Show Less

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Overview

A new and profusely illustrated appraisal of this leading Spanish painter and graphic artist."As a draftsman and painter, Goya favors the human passions, whether uninhibited or suppressed, repressed or repressing." Thus does Werner Hofmann describe the essence of the vast oeuvre left behind by Francisco Goya y Lucientes (1746-1828), pointing to the source of its vital energy, alarming immediacy, and striking modernity. Discussions of Goya in recent decades have centered on his influence on nineteenth- and twentieth-century painters. Hofmann redresses the balance, focusing instead on the Spanish artist's profoundly disturbing imagery, and demonstrating that Goya's modernity derives from his lifelong investigation of what lies behind the world of appearances and convention. Hofmann places Goya's paintings, drawings, and prints in a biographical context, revealing the specific character of each phase of the artist's life and work. He discusses "the glory and the pain of faith" evinced by Goya's early work, the artist's parabolic representation of the threat posed by the French Revolution, his dramatic documentation of the French occupation of Spain, his variations on cruelty in the Disasters of War etchings, and the religious faith apparent in his late work. Hofmann also relates the artist and his work to contemporary intellectual developments, drawing comparisons with writers, critics, and philosophers from Goethe to William Blake to the Marquis de Sade. 220 illustrations, 185 in color.

Author Biography: From 1970 to 1990, Werner Hofmann was Director of the Kunsthalle in Hamburg. His many publications on the art of the nineteenth and twentieth centuries include monographs on Gustav Klimt, Max Ernst, and Caspar David Friedrich.

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Editorial Reviews

The Washington Post
… Werner Hofmann, former director of Hamburg's Kunsthalle, provides an expansive career retrospective, anchored in a historical narrative of Goya's life and times. This is no small order: The distinct phases of Goya's work often appear fragmentary and discontinuous -- his early pastoral studies and family portraits seem indeed to inhabit a different universe from his morbid and grotesque "Disasters of War." But Hofmann insists that as Goya's technical mastery and thematic ambition widened, his work acquired a spiritual vocation, albeit one that was increasingly modern and secular. — Chris Lehmann
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Product Details

  • ISBN-13: 9780500093177
  • Publisher: Thames & Hudson
  • Publication date: 11/24/2003
  • Pages: 336
  • Product dimensions: 10.38 (w) x 12.56 (h) x 1.22 (d)

Table of Contents

Prologue: Goya and Goethe 9
Ch. 1 'The interplay of opposites improves and sustains the world' 23
The glory and the pain of faith 23
The Spanish roots of Goya's ambiguity 29
Falls, upheavals, dissolutions 40
A brief idyll: Sanlucar 66
Ch. 2 The sickness of reason 73
Prelude to the Caprichos: masquerades and exorcisms 73
The Caprichos 85
A negative ideality 118
The artist's dream 130
The sickness of reason 140
Ch. 3 A witness of his time 149
Two churches in one: San Antonio de la Florida 149
The French years 162
The Desastres de la Guerra 206
An early inner dialogue: the 'Black Paintings' 232
The Disparates 248
Ch. 4 Goya talks to himself: 'Still learning' 261
The self-portraits 261
Lux ex tenebris 270
Indissoluble bonds 274
'It's better to die' 294
Epilogue: The artist heals by means of consciousness 311
Acknowledgments 320
Chronology 321
Notes 323
Bibliography 331
Picture Credits 333
Index 334
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