80 etchings and aquatints, designed as a single transaction is completed in 1799. 80
whims, or "crazy thoughts" of satire and reflection of society at all levels, from the prostitutes on the street to lure customers lineages represented as donkeys, to the royal house.
The key to understanding the meaning of a work is offered as articulated by the author himself puts it, at the opening, a self-portrait, which bears the inscription at the bottom of cryptic "My real portrait of black humor and satirical attitude." The eyes close, her eyes distant and discontented face harden up to make it look like a mask and pose in profile, completely unnatural for withdrawal, emphasizes rigidity. A final touch, dress afrancesado by Jacobin, the fe get to the heart of one of the greatest political and social upheavals of history.
subsequent prints are a succession of vice-vanity, anger, lust, gluttony ..- that attack the poor as the nobles. Analyzes the courage that expresses itself only as oppression of those who have little on who has nothing, the exercise of power. Goya brings to light exasperating efforts of the wealthy families of Spain so deeply hierarchical, to demonstrate the long life of your family. Lies, between father and children, between husband and wife, the hypocrisy of matrimoni combinati, e la benedizione del clero che non si fa attendere. Superstizione e stregoneria, ritratti grotteschi, crudeli ma assolutamente veritieri e attuali, riducono l’uomo a mera macchietta di se stesso.
Messi in vendita nel negozio di vini e coloniali dello stesso artista, suscitarono uno scandalo tale da richiamare la Santa Inquisizione che ne proibì la vendita; passarono allora ai reali di Spagna, in cambio di una pensione per il figlio di Goya.
“Los caprichos” videro una seconda ristampa solo nel 1855, a quasi trent’anni dalla morte del lloro autore, conobbero un successo enorme e divennero una delle opere grafiche più importanti della storia dell’arte.
La seconda Part of the exhibition is dedicated to great artists of the twentieth century who collected the legacy of Goya and carried forward the social and political criticism, a taste for the visionary, the fantastic and grotesque. Some of their names: Marc Chagall, Salvador Dalí, Honoré Daumier, Gustave Doré, Alfred Grévin, George Grosz, Renato Guttuso, Max Klinger.
"The great merit of Goya is to create the monstrous likely [..] In a word, the suture line, the junction point between reality and fantasy are impossible to grasp."
Charles Baudelaire, Quelques caricaturistes étrangers, 1857
"Goya's imagination has its own focal point nella descrizione dell’Inferno sulla terra. Le sue immagini deformate oltrepassano il limite che separa il comico dal terrificante. Esse saldano in modo indissolubile le due anime della caricatura, la tendenza realista allo slancio fantastico e, ciò facendo, esse annunciano tanto lo sguardo acido di Grosz quanto l’universo visionario di Kubin.»
Werner Hofmann, Die Karikatur, von Leonardo bis Ricasso, 1956
Not to miss: il capriccio [52] Lo que puede un Sastre! , Quello che può un sarto!, in cui un tronco d’albero, agghindato da santo, è venerato dal popolo che si prosterna senza riconoscerne la vera natura.
Nella seconda parte della mostra, le incisioni Dali mentioning, one by one, the Caprichos of Goya
whims, or "crazy thoughts" of satire and reflection of society at all levels, from the prostitutes on the street to lure customers lineages represented as donkeys, to the royal house.
The key to understanding the meaning of a work is offered as articulated by the author himself puts it, at the opening, a self-portrait, which bears the inscription at the bottom of cryptic "My real portrait of black humor and satirical attitude." The eyes close, her eyes distant and discontented face harden up to make it look like a mask and pose in profile, completely unnatural for withdrawal, emphasizes rigidity. A final touch, dress afrancesado by Jacobin, the fe get to the heart of one of the greatest political and social upheavals of history.
subsequent prints are a succession of vice-vanity, anger, lust, gluttony ..- that attack the poor as the nobles. Analyzes the courage that expresses itself only as oppression of those who have little on who has nothing, the exercise of power. Goya brings to light exasperating efforts of the wealthy families of Spain so deeply hierarchical, to demonstrate the long life of your family. Lies, between father and children, between husband and wife, the hypocrisy of matrimoni combinati, e la benedizione del clero che non si fa attendere. Superstizione e stregoneria, ritratti grotteschi, crudeli ma assolutamente veritieri e attuali, riducono l’uomo a mera macchietta di se stesso.
Messi in vendita nel negozio di vini e coloniali dello stesso artista, suscitarono uno scandalo tale da richiamare la Santa Inquisizione che ne proibì la vendita; passarono allora ai reali di Spagna, in cambio di una pensione per il figlio di Goya.
“Los caprichos” videro una seconda ristampa solo nel 1855, a quasi trent’anni dalla morte del lloro autore, conobbero un successo enorme e divennero una delle opere grafiche più importanti della storia dell’arte.
La seconda Part of the exhibition is dedicated to great artists of the twentieth century who collected the legacy of Goya and carried forward the social and political criticism, a taste for the visionary, the fantastic and grotesque. Some of their names: Marc Chagall, Salvador Dalí, Honoré Daumier, Gustave Doré, Alfred Grévin, George Grosz, Renato Guttuso, Max Klinger.
"The great merit of Goya is to create the monstrous likely [..] In a word, the suture line, the junction point between reality and fantasy are impossible to grasp."
Charles Baudelaire, Quelques caricaturistes étrangers, 1857
"Goya's imagination has its own focal point nella descrizione dell’Inferno sulla terra. Le sue immagini deformate oltrepassano il limite che separa il comico dal terrificante. Esse saldano in modo indissolubile le due anime della caricatura, la tendenza realista allo slancio fantastico e, ciò facendo, esse annunciano tanto lo sguardo acido di Grosz quanto l’universo visionario di Kubin.»
Werner Hofmann, Die Karikatur, von Leonardo bis Ricasso, 1956
Not to miss: il capriccio [52] Lo que puede un Sastre! , Quello che può un sarto!, in cui un tronco d’albero, agghindato da santo, è venerato dal popolo che si prosterna senza riconoscerne la vera natura.
Nella seconda parte della mostra, le incisioni Dali mentioning, one by one, the Caprichos of Goya
Pigorini
Palace Road Republic, 29
Parma tel. 0521 - 218 967
Opening hours from 10 to 18
Closed on Mondays Ticket
Free Entry
Palace Road Republic, 29
Parma tel. 0521 - 218 967
Opening hours from 10 to 18
Closed on Mondays Ticket
Free Entry
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