Francisco Goya, Francisco Goya Pictures, Caprician Francisco Goya. "Caprician" Francisco Goya: How to spanish engraver managed to avoid the Inquisition for a series of accusatory engravings

Tickets for the exhibition are not sold separately. To visit the exhibition you need to purchase entrance ticket To the main building.
State Museum Fine arts named after A. S. Pushkin begins a year from the opening of the exhibition "Kaprichos. Goya and Dali."
The exhibition will feature work from two graphic series Engravings: Kaprichos Francisco Goya from the Assembly of GMIA and Kaprichos Goya, created by Salvador Dali, from the collection of Boris Friedman.
The exposure includes 41 Goya engravings and the corresponding 41 engraving was given. The XIX century prints from the original boards of 1799 were performed by Goya in the etching technique with Aquartlet. While Salvador's work was performed in the etching techniques, a dry needle and a postower and a seal over a heliogravyur from the original Outhi of Goya.

To each pair of Goya sheets and gave a comment of Goya. Thus, the exposure is literary text (Comments Goya) and illustrations for Him (the etching of Goya and Dali). Such a design of the exposure will allow the viewer better to understand what made by artists, feel the modern sound of the work of art created more than two hundred years ago and continued in the twentieth century.
One of the vertices of Graphic Creativity Francisco Goya is the creation of a series of etching "Caprichos". Capricci (ITAL. CAPRICCI; FR. Caprices; Caprichos) - special genrearticulated Western Europe At the turn of the XVI-XVII centuries. EKOVA assumes fine art, music or poetry of a series of whims, quiet or fantasy, united by any topic.
The first sketches to the Kaprichos series, the artist created in 1793. In the final form, the graphic series was framed in 1799. Goya himself called the series "Assembly of the etampis for fantasy plots"

All the plots of the Kaprichos series are talking about modern artist Realities of political I. social Life Spain, experiencing a deep crisis in that period. Another plot of the series is the story of happy and tragic love Artist to the Duchess of Caetan Alba. In his works, he acts as criticizing public morality, consistently exposing the hidden meaning of reality and destroy the existing foundations of the old world. Among scene linesRaised by him, you can highlight self-deception and pretense, female windiness and misfortune, metaphor human World As an animal, the dream of the mind and the awakening of human consciousness. Goya raised Spain evil and sarcastically: vices ordinary people, hypocrisy of the nobility, courtiers, ruling couple, church, inquisition.
The complex intention of the graphic series of 80 etchings demanded a more detailed comment. He was the first to gave him. At one of the albums donated to the king artist, additional clarifications to each of the sheets were made by the pen. This so-called "official comment" of Goya from the album, stored in the Prado Museum, underlies most of the most modern Caprician publications. As part of this exhibition made new translation into Russian all the comments of Goya to the etchings of the graphic series. To deeper to understand the artist created by the artist, consider this series follows with his comments.
Almost 180 years after the publication of the Graphic series Francisco Goya, his compatriot Salvador Dali, one of bright representatives The directions of surrealism in the art of the twentieth century, presented his reading the content and meaning of the etchings created by Goyai. Dali perceived the sheets of "Caprician" as something close to his own surrealistic method.
Taking as a basis of a series of 80 etching of Goya, repeated in the technique of heliogravira specifically for this work, the artist introduces in Goya images additional characters, Details and colorful elements using a dry needle technique, etching and bears. In some cases, he reinpecates the characters of Goya engravings, in others - adds his acting persons. Dali creates new meanings, giving the whole series a different kind and character. Dorishing the background, depicting the watches or backups that have become famous "drone", the artist places Goya's heroes into its space. Sometimes he just follows the images of Goya, without invoking anyone in any way in the semantic component of signatures, applying only coloring. So he or comments on the works of Goya, or involves his heroes into his game, and sometimes enters the dialogue with his great compatriot.
The fundamental feature of the work was given with a graphic series is to replace all the names of images, Data Goya, on the comments made by himself, who do not explain the plots for another line of their interpretation, complementing the fantasy of Goya Surrealistic visions gave, entering almost two centuries after A kind of dialogue with the great predecessor. In the exhibition of the exhibition and in its accompanying edition, for the first time is given to the Russian language name, data was given. To the riddle of Francisco Goya Salvador Dali added his own.
Like "Kaprichos" Goya, a series of Dali begins with Avtoportist Goya. Dali places it in a reduced form inside the sfincase figure lying on the background of a deserted landscape. A bin with winds opens from the body of the Sphinx, and in the background profile black silhouette in an old spanish suit is evaporated. The sphinx eyes are closed, which enhances the impression of sleep, in which they gave away all the images depicted. The Sphinx symbolizes the secret and resolved in the traditional manner for the artist: smooth tonal study creates watercolor effect, the contours of the figure are contacted the finest line; The eyes are closed - he sleeps, he sees a dream about how this world is born in Goya's head.

By virtue of the complexity of the material represented, special attention was paid to the lecture program on the subject of the exhibition. Leading foreign specialists are invited to participate in a saturated program of lectures. About the history of the creation of Francisco Goyai series of etching "Kaprichos" will tell a staff member of the painting department of the Prado Museum (Madrid), Professor of the Department of Art of the Art of Madrid University of Virginia Albaran Martin. Of great interest to art lovers will be a meeting with the famous French Printer, the author of several publications on print technicians Nicole Rigal. Nicole Rigal printed the etchings to seven publications Livre d'Artiste Salvador Dali and was well acquainted with him. She printed and exposed at the exhibition a series of print "Kaprichos" Dali, about which its separate lecture is planned. The agreement was also achieved on the arrival of Moscow during the passage of the exhibition of the Spanish writer and the philosopher, Professor Ignacio Gomes de Liano, closely friendly with Dali, the author of the book memories of the artist. During his visit to the museum, he will tell about his meetings with Dali. With specific dates of scheduled events, it will be available on the museum website.
The opening of the exhibition is timed separate publication "Caprician. Goya. Dali "During the exhibition, a presentation of this publication will be held, at which visitors to the exhibition will meet with employees of the publishing house, the author of the publication will discuss the book with the participation of leading Russian and foreign specialists.

On February 6, 1799, a long announcement appeared in Diario De Madrid. It advertised a collection of 80 engravings. In the ad, the author longly apologized for a long time; warned that satire was directed not against specific personalities, but against the vices in general; She told how difficult it was to draw engravings without following either earlier samples, nor the nature and in every way praised himself. This collection is still one of the most fiction maternal creatures of the human mind. We are talking about "Los Caprichos". The author of him was the court artist of His Majesty Charles IV, King of Spain - Francisco Goya and Lusatenes.

Goya released 300 copies of Kaprichos - all he had to print 24,000 engravings (not counting marriage). One collection cost 320 reals (then so much cost 31 grams - or one ounce is gold). In four years, 27 copies of Kaprichos were sold. As a result, all the remaining circulation, along with engraving boards, bought Karl IV.

Caprichos translates as a whim, fantasy, the game of imagination. It is believed that the word happened from the verb, denoting the jumps and jumps of young goats on the grass. Goya in this genre was presented mainly architectural fantasies, much less often - genre or grotesque scenes. Satyrian phantasmagoria was essentially the invention of Goya.

It should be noted that in addition to the graphic fantasies of the Italians, the English caricature of that time, the big fan of which Goya came to "Caprician", had a significant influence.

But first of all, he was a big fan herself. Therefore, the album begins with its autoportist.

Caprice number 1. Francisco Goya and Lusatenes, artist

When Goya began work on the series, he was 51 years old (he was born on March 30, 1746). Francisco Goya was born in a severe Aragon, in a poor craft family. At the age of 13, he began training the painter's craft from his father, José Luzan. In 1766 (from the second attempt, the first he failed to faithfully) he received a scholarship of the Art Academy for a trip to Italy. Returning, he worked in Saragossa; I also got married; And thanks to successful marriage (his sang, Francisco Baye, in 1767 he became the predecessor of Goya as the main court artist's position) - moved to Madrid and became the manager of the royal tapestry manufactory. Thanks to sociability, a sense of humor and love for the hunt, a young artist has started the necessary acquaintances - and eventually gained considerable popularity in the highest sections of the Spanish society, and also changed his left relative to higher positionAn affordable artist in Spain. In addition, by this time he was a father of a significant number of children (from seven to twenty, of which only one son survived) and absolutely deaf.

Caprice number 2. She says "yes" and gives his hand to the first

Caprice number 2. She says "yes" and gives his hand to the first thing that fell.

This engraving depicting a little grotesque wedding - a girl in a mask, dressed in expensive, stitched by latest fashion Dress, and quite stuck, although with a claim dressed, the groom - there is history and prototype, however, literary. Goya was a friend, Gaspar Khovelyanos. And there was this Khovelianos a rather typical example of a person's era of the Enlightenment: a little lawyer, a little economist, a little writer; admired British public Building; He worshiped Rousseau, Voltaire, Montesquieu and Hobbes; Penetrated by the modern economic theories of physiocrats and Adam Smith and, of course, let the heroine (or heroes) of sentimental novels (sensitivity then was in fashion). After reading all this corrupted hevival, he glanced with a critical view of the surrounding reality and (of course) came to the thought that the morals urgently need correction. The result of these thoughts was the poem "To Arnesto". The poem branded some not quite impeccable ways of acquaintance with matrimonial goals. For example, girls were accused of using cosmetics, concealing age, demonstrating false modesty and other attractive character traits. The young people were accused of communicating obviously wrong information about their material welfare and social status. And in this poem there are approximately such lines:

... thoughtlessly trusting the bridegroom,
Without assessing his advantages and vices
Said "yes" and gives the hand
To the one who first looked at her
Cunning, evil and lustful approx.

Now, I think you understand why the bride surrounds these vile, grinning, fraudulent faces. Although when the contented groom will lead an aristocratic beauty to his slums, she will remove the mask ... and the groom can also be slightly surprised and disappointed.

In those days, Madrid went a lot of gossip and jokes about how temperamental syntoras were let the house in the house of their lovers under the guise of ghosts. Children, seeing such, in fright went to bed and were even afraid of the nose to stick out from under the blanket. And the inventive milf in Upassion was indulging in the joys of life and role players. Pay attention to the difference between the people of children and women. By the way, the case is not only in the Mimic - frightened faces of children - a sharp and hard contrast between light and shadow; The face of a woman is soft halftone. There is a truth and another interpretation, reflected in the hand written by the note to one of the copies of this engraving: "This is a terrible mistake in the initial education of children. The child is afraid of ghosts more than his father and believes in what does not exist. " But, looking at the Mimicu inventive Signora, I still tend to the version with a lover.

Caprice number 4. Sissy

Here, as they say, comments are superfluous - drawing and signature speak for themselves. And if you are surprised by the cat's suit - then it was accepted independently of the floor of children under five years old to dress in the dress. You can add only an excerpt from the "Treasury of Castilsky or spanish»Kavarubius (1610):" ... some boys, even being already bigger, do not know how to break away from the Titeca of their mothers; Of these fools and vicious villains grow. " The "boy", shifted on the engraving, judging by the face, already, perhaps, the beard makes its way - I also know a few such thirty-forty-haired inexpensive.

Caprice number 5. One of the other is worth

The most popular interpretation of this engraving states that she depicts Queen Maria Louise in the form of a Madrid prostitute and her favorite of Godoy - in the form of a client. It is hardly so. First of course, Guya was neither an idiot nor torn away from reality idealist. He was a very practical person. Hardly he would put under his blow successful career For the sake of dubious pleasure, laugh at employers and patrons. Secondly, his own self signature on the sketch reads: "Old women from the soul laugh, because they know that he has no penny for the soul." And if on the image, the woman "removed" a man's youngmouth in a suit "A la Maud" - for the sake of making it with his Alphonse - there would be no reason for laughter. So it is most likely just sketching a comical (in the glance of Goya and the modern public) scenes. Not to mention the fact that historians still ask the question - and was the annual lover of Mary-Louise. But about it later.

In the second half of the XVIII century, Europe (and Spain including) covered the fashion for carnavals in the Venetian spirit - with masks and dressing. French philosopher and sociologist Kayua believes that the carnival mask allows you to hide social roleInherent in man, and to be for some time yourself. Goya also uses masks not to hide the essence of a person, but in order to show it as much as possible and brightly - take a look at the back plan characters. The rest says the name: Even if the girl on the right and gives care of the temptation - no one will know about it.

Caprice number 7. Even so he will not know her

Young fashionista, Afranouszado (X-insulated - that is, dressed in French fashion), looks at a prostitute in a monocle. This scene is observed with a satisfied summit. Here, perhaps, in the form of an explanation, enough inscriptions made by Goya on the sketch to engraving: "How can he recognize it? In order to understand its essence, not enough magnifying glass, here you need to be true judgment and life experience - What is lacking poor young Caballero ... ".

Caprice number 8. And it is kidnapped

Caprice number 8. And they kidnapped it ...

This engraving illustrates the specific sense of humor Goya. The composition is characteristic of numerous images of removal from the cross, which does not correspond to the content - the scene of the abduction of the girl. In Spain, of that time, such abductions were not rare: violent marriages, abductions for the sake of ransom, rape ... In this case, the monastic vestments of one of the kidnappers attracts attention. One of the comments to the image says directly: "The clergyman, thirsty of illegal love, has found an assistant for black business."

Caprice number 9. Tantalum

Tantalt is famous for the punishment to whom the Olympic gods were subjected. He stood on her neck in the water - but when he leaned to drink, the water left him. Ripe fruit hung right above his head - but as soon as he stretched to them, the branch moved away. The eye sees, yes tooth neuts. So - according to Goya - occurs with the elderly Caballero, married young senoryites. So this engraving depicting a closing hand in the suffering of an elderly gentleman with seductive, dilapidated and insensitive (this is from what she had to forget about the sensual pleasures) kneeling girls, is an allegorical image of impotence.

Caprice number 10. Love and death

Here all interpreters converge in one: forbidden love bad ends. In this case, the duel and the death of the lover.

Caprice №11. Guys are ready

Another engraving without special hidden meanings. The only question that she causes is the question of who is still here: smugglers or robbers? Although the robbers in those days did not disperse the smuggling, but smugglers - we wake. In any case, the contemporary was clear that these guys are ready to do with it at the meeting.

Caprice number 12. Hunting for the tooth

This scene, in principle, does not need the comments. The girl is trying to snatch the tooth at the hanged - it is not that it is simple! He needs him for witchcraft. Solved tooth - the necessary ingredient of a probitive potion, for example.

Just greedy monks did not wait until the soup cools. Pretty harmless, if you do not know that one of the sketches to this engraving was called "a dream about some people who eat us, and on a tray of the servant, a boiled man's head was blocked.

Pretty typical situation. The young girl (apparently from the noble, but experiencing families of the family) they were married to the old, ugly and rich dwarf (some suggest in it Marran: Spanish or Portuguese Jew, who was agreed or not very Christianity). The girl is not delighted, but ready to sacrifice himself for the sake of the well-being of the family. Dad with Mama - Satisfied with a successful deal. Only Duanegy closed her eyes with her hand - can't look at the lustful freak.

Caprice number 15. Good advice.

On February 6, 1799, in one of the Madrid newspapers, DIARIO DE MADRID appeared impressive announcement announcement reporting on the release of a graphic series of 80 sheets. It was the most real advertising of the collection, in which the author for a long time explained that his satire was not directed against anyone concrete, but denounced the vices of society as a whole, and at the same time he did not forget to praise his masterhood of engraving and the uniqueness of his creation. And, of course, he was absolutely right, because it was about one of the most mysterious and phantasmagoric works in the history of art - "Los Caprichos" (Kaprichos). And the author was his author famous artist And Gragraver Francisco de Guyia Lucientes.

Self-portrait

By the end of the 1780s, Francisco Goya was already an illustrated painter, whose services were enjoying great popularity. He wrote portraits of the dukes and their wives, decorated the palaces of Spanish nobility - in general, the case of Goya flourished. In addition, using the patronage of the Duchess Alba, he received in 1789 the place of the court artist and gave a considerable fortune, working for the King of Spain Karl IV. However, the brilliant career of Goya lasted for a long time, because by the end of 1792 there was a heavy illness with him, as a result of which the artist almost lost his rumor. But his other feelings aggravated significantly. From that moment on, in the life and work of the Master, a completely different, more gloomy and difficult period occurred. In his creations, there were no more light and cheerful tones, there were no colorful secular stories. Goya began to look closely to the surrounding and suddenly realized that the existing traditional gesture of Spanish society was sinning with ephemeralism, and the entire external global yard loscity (and not only) hides its ugly essence under the mask virtue. And from that moment on, his consciousness was more and more thought about the essence of human nature, about human defects, about all those medieval prejudices, which were still flourished in Spain.

In 1793, Goya began to make the first sketches to the series, planning to entitle her "Dreams of Mind" by name of one of the drawings. Initially, the artist wanted to devote her witchcraft and witch shabras, but during the work of Goyia refused this idea, giving his work satirical and largely social character, although not without misunderstanding mysticism. The very name "Caprichos" is translated from Spanish approximately as a whim, fantasy, the game of imagination. "Caprician" - were not only a set graphic imagescombined one topic, they became a real symphony of Spanish folk art, socio-political cartoons French revolution, medieval demonology and Spanish satirical tradition of the Golden Age. In engravings, Goya used images from Spanish folk novers, sayings and fables that had to make fun in general human vice And superstition - hypocrisy, cowardice pretense, cruelty, disturbance and others. Each of them he gave brief satirical and sometimes even too rough names. The same names that, according to the author, not clearly expressed the essence of the image, were supplied with clarifying comments.

"Now they are sitting correctly."

The whole series was performed in an extremely gloomy tonality, which fully corresponded to the painful state of the artist. He even placed his self-portrait on the first sheet, who passed the feeling of anxiety and deep suffering, which Goya experienced due to painful headaches and nightmares. And although the initially, the series was to open the most famous engravings from this series - "The dream of the mind gives rise to monsters," yet high-ranking pleasures Goya dissuaded him from this, because the collection and so was too provocative. But it was this engraving that became the leitmotif of the entire series. "When the mind is sleeping, fantasy in sleepy golden makes monsters, but in combination with a mind, fantasy becomes the mother of art and all his wonderful creations," such an explanation of Goya escorted this etch. It is the mind in combination with the imagination, according to Goya, was intended to create wonderful creatures of art, while the dream of this very reason was able to produce something terrible, immersing a person in the bottomless puchin of the imagination. From here, the ideas of all other engravings from the series came out, because every vice, human weakness And other unpleasant sides of the human essence in the etchings had their grotesque reflection. And in the representation of the artist, they won virtue. By pouring his essence only at night, they turned into witches, demons, houses and other evil spirits, and during the day they became quite exemplary citizens.

"We come when the stars light up"

"Time to wake up"

Just Goya released 300 sets of engravings, of which it was sold only 27. The rest 4 days after the sale was seized on the order of the Inquisition, which considered the blasphemous caricatures. And it is not surprising, because the church in these umber engravings got the most ridicule. In addition, to cherish the guilt before Karl, Goya handed him a meeting of the reproductions of his works, as well as the 80 of the most prepared for "capricious" printing plates and all unsold copies of their copies along with handwritten sheets. After that, none of the Goya series was released in the Life of the Master.

"If I knew why he died"

"The dream of mind gives rise to monsters"

So, the famous artist and engraver Epoch of Francisco Goya severe disease And I was able to clearly see the picture of the surrounding world, where everyone hid his essence for the mask. And having seen all this, he was able to tell his truth in a universal language of graphics in the unsurpassed sharply satirical manner. And thus, his "dreams of mind" found their place in art.

Exposure, located

in one small hall Pushkin Museum, attractive for its camera, which allows in detail to consider the work of two great Spaniards and read in the comments, their accompanying.

The exhibition opens a self portrait of Goya - a melancholic person of the age of fifty in the cylinder is depicted in the profile and does not look at the viewer, there is fatigue in his glance. Dali puts his image into the space of bare sandy desert, and not immediately striking that the verakhans, on which the self-portrait of Goya is resting - the bends of the body of the Sphinx. Eyes mythical creature Cover: He sleeps and sees dreams - in which the images generated by the imagination of two artists are mixed. In such an entourage, Goya's gaze seems to be changing, acquiring the expression of child curiosity and even a bit of the twill.

The exposition was 82 of the work: 41 Goya engravings from the Museum Funds and the same appropriate engravings were given from the collection of collector Boris Friedman, who made a curator of the project. The graphic cycle was given and the original "Caprician" divide almost two centuries, but placed in a single space, they look especially relevant, confirming the old truth: by and large, a person does not change. Yes, and public problems, despite the shift political regimes, remain the same.

"I am convinced that the criticism of human vices and delusions, although it seems to be a refractory art and poetry, can also be a subject of painting," DIARIO DI MADRID "wrote on February 6, 1799, declaring the start of sales" Caprician "Francisco Goya, - The artist elected for his work from a variety of crazy and absurdities, characteristic of any civil society, as well as from common prejudice and superstitions, legalized by custom, ignorance or selfishness, those that he found especially suitable for ridiculous and at the same time to exercise his imagination "

The fate of the series of etchings "Kaprichos", over which Goya worked since 1793, turned out to be dramatic - caustic satire on the establishments of society and human vices could not like the power by the pre-war. Only this stone in the king's garden and the courtesy of what: " Savor - Carnival, where everything is hidden by the mask. Here is all someone else's: dress from someone else's shoulder, someone else's voice, subject instead of face. Here, everyone is pretending to be, everyone is lying and no one will know anyone. " At the request of the Inquisition, all sheets were seized a few days after receipt of the sale, and the artist was forced to apologize to Korla Karl IV, which he also handed over all the etching boards together with non-sold printed specimens and handwritten pages with their comments.

Over his "Caprician", Salvador Dali worked for 1973-1977. Taking as the basis of the etchings of the compatriot, he introduces additional characters and elements in them, then draws the background, but sometimes it is limited to coloring and new signatures. So, the monsters give rise to one of the most famous images "The dream of the mind gives rise to a monster", given in addition to the color adds a symbol of Yin and Yan, who is clearly sending to Freud, whose theory fascinated by surrealists. Sometimes new signatures sound ironically, clearly seeking to reduce the accusatory pathos of Goya. For example, a scene depicting a young woman that repels a beggar in the original is indicated by the words "God forgive her. That was her mother. " Dali continues: "As well as her father." Some signatures gave develop the original plot in another plane, reversing the mock in a terrible horror, as it happens in the scene "Who is fascinated here?", Which Dali calls "who rape."

In each pair, engravings are concluded several values \u200b\u200band options for possible interpretation, which are disclosed in the dialogue of these works. In the museum context, this sense game is even more complicated, forcing the viewer to constantly balance on the verge between the past, present and future.

Details from Posta-Magazine
The exhibition is working until March 12
GMI them. A.S. Pushkin (main building, hall 31), ul. Volkhonka, 12.
http://www.arts-museum.ru/

Today marks 271 years from the birth of the Great spanish painter Francisco Goya. His life was difficult, it was all in it - from royal recognition to the threat to teach alive burned at the bonorable of the Inquisition. The artist accused the heretism after creating a cycle engraving called "Caprician",ruthless satirical cycle, written based on modern historical realities. However, Goya managed to overcome the church and avoid punishment ...

The life path of Goya was not simple. In his youth, he did not immediately achieve recognition, his work, filled with a flight of fantasy, contrasted sharply with dry akademism, revered at that time. 20-year-old young men, he travels to Rome, where he gets acquainted with masterpieces italian painting. After returning to his homeland, Giano receives the first orders for the painting of the architect Kapella of the Ventura Rodriguez, the work is recognized as magnificent. From now on, the attitude to the work of Goya changes, gradually they even begin to be interested in the court.

In 1786, Goya was appointed royal artist with Carlel III, in 1789 - with Carlem IV. The brilliant career of the artist staggered during the French Revolution, as he was sent to Valencia. Many of his friends-Spaniards waited for the worst fate - they were arrested. Goya's health is worsening in these years, paralysis is tormented, but Goya does not leave painting, continues to write. In addition, the artist practically loses his hearing. In such a state, he starts work on the "Caprician" cycle.

This cycle represents 80 etching devoted to our time. Initially, the artist planned to call a series of "dreams", but after chose her more caustic name. "Caprichos" in translation into Russian can be interpreted as "something, from what hair stands on end." Actually, satirical engravings were such and were - stuck and merciless to the vices of society. In total, the artist created 240 copies of the etchings and set them for sale. In the first four days, 27 copies were bought, the rest were seized from the sale by royal order. Goya had to apologize for Karl IV personally.