12 - Visual Arts - Art and Power: Goya : journal articles in databases

The Graphic Art of Francisco Goya

Bulletin (St. Louis Art Museum), New Series, Vol. 15, No. 1 (January-March 1979), pp. 152-154

...scenes of witchcraft. No one was safe from his stinging wit. Prominent politicians, the aristocracy, the Inquisition, the Roman Catholic Church and even the Royal Family, for whom he served as First Painter, was attacked. Perhaps the most famous target among those satirized was the Duchess of Alba with whom Goya had...

Francisco Goya and the Intentions of the Artist

Roberta M. Alford

The Journal of Aesthetics and Art Criticism, Vol. 18, No. 4 (Jun., 1960), pp. 482-493

....The intentions or purposes of artists and the functions of artifacts constitute an area of inquiry in which angels tread gingerly and only fools hope to rush in and out again unscathed by the certain fire of criticism from artists,...

ART AS POLITICAL SUBTEXT: A PHILIPPINE CENTENNIAL PERSPECTIVE ON FRANCISCO GOYA'S JUNTA DE LA REÁL COMPAÑIA DE FILIPINAS (1815)

Teresita Miranda-Tchou

Philippine Quarterly of Culture and Society, Vol. 24, No. 3/4, SPECIAL ISSUE: THE PHILIPPINE REVOLUTION OF 1896 (September/December 1996), pp. 187-215

Moors and the Bullfight: History and National Identity in Goya's "Tauromaquia"

Andrew Schulz

The Art Bulletin, Vol. 90, No. 2 (Jun., 2008), pp. 195-217

...Francisco Goya began etch ing the plates for a series of prints depicting the bullfight. The Tauromaquia, as this set of thirty-three aquatint etchings would come to be known by the 1840s, was the third of five print series Goya created during...

"Long Live Death!" The End of Revolution in Luis Buñuel's "The Phantom of Liberty"

Julie Jones

Cinema Journal, Vol. 42, No. 4 (Summer, 2003), pp. 63-75

...that shape national identity, the contradictory nature offreedom, the connection between political and psychological realities (Oedipal conflicts both), and the enduring pres- ence of Francisco Goya . Goya shows the tragedy of freedom. Ram6n Gomez de la Serna, Goya' The Phantom of Liberty (1974), a French film directed by Luis Buniuel,...

The Changing Image: Prints by Francisco Goya

P. H. Hulton

The Burlington Magazine, Vol. 117, No. 867 (Jun., 1975), pp. 429-430

...Image: Prints by Francisco Goya The exhibition recently shown at the Museum of Fine Arts, Boston, and the National Gallery of Canada, Ottawa was memorable for the number and quality of working proofs and pre- publication impressions on display. Even more for the way it illuminates the evolu- tion of Goya's...

The Expressive Body in Goya's Saint Francis Borgia at the Deathbed of an Impenitent

Andrew Schulz

The Art Bulletin, Vol. 80, No. 4 (Dec., 1998), pp. 666-686

...Andrew Schulz Saint Francis Borgia at the Deathbed of an Impenitent (Fig. 1), painted byFrancisco Goya (1746-1828) in 1788, is one of the most astonishing works in an oeuvre replete with remarkable images. In the decade and a half since its inclusion in Robert Rosenblum's survey of nineteenth-century art, this...

Confronting Violence through the Arts: A Thematic Approach

Alice Arnold, Wislawa Szymborska, S. Baranczak, C. Cavanagh

Art Education, Vol. 58, No. 4 (Jul., 2005), pp. 20-24, 33-34

...children the time and place to confront images of war and violence and decode the multiple levels of meaning (Arnold, 1997) found within them. The third, fourth, and fifth-grade students in my university preservice "after-school-art" class looked at several narrative works by Francisco Goya , K?the Kollwitz, Frank Gaylord, II, and...

Goya's "Tauromaquia" A Criticism of Bullfighting?

Frank I. Heckes

Print Quarterly, Vol. 18, No. 1 (MARCH 2001), pp. 41-63

Poverty And Painting: Representations In 19th Century Europe

Philippa Howden-Chapman, Johan Mackenbach

BMJ: British Medical Journal, Vol. 325, No. 7378 (Dec. 21 - 28, 2002), pp. 1502-1505

...The 1900 Paris Exposition Universelle attracted more than 50 million visitors in five months and had two palaces of contemporary art, where well heeled visitors were forced to confront the plight and potential power of the urban poor in paintings such as Jules Adler's...

Philosophical Inquiry: A Practical Approach to Aesthetics

Carole Henry

Art Education, Vol. 46, No. 3, Critical Reflecting (May, 1993), pp. 20-24

...approach, in which information about concepts and theories is transmitted to the students through traditional teacher- centered means such as lecture and 2) the issue-centered approach in which students confront philosophical issues in art before being introduced to aesthetic theory. According..

The Gothic Scene of International Relations: Ghosts, Monsters, Terror and the Sublime after September 11

Richard Devetak

Review of International Studies, Vol. 31, No. 4 (Oct., 2005), pp. 621-643

...and the dread they produce during the Enlightenment. Spanish artist Francisco Goya created some of the most visibly arresting images of dread. His brilliant series of etchings called Los Caprichos [The Caprices] (1799), which contained images of donkeys, witches, monsters and other liminal beings, was an attack on Spanish prejudices, superstitions...

London: Goya's Prints - The Tomás Harris Collection in the British Museum

Philip Troutman

The Burlington Magazine, Vol. 124, No. 946 (Jan., 1982), pp. 34+48

...realise the inadequacy of the earlier authorities to whom he needed to refer for the collation and classification of his collection and embarked on the preparation of an entirely new catalogue of Goya's engraved works. Earlier scho- lars had paid only superficial attention to technique , and had described Goya's engravings...

Elusive Facts and Persuasive Fictions: Goya's Allegories in the National museum of Stockholm.

By: CERÓN, MERCEDES. Hispanic Research Journal. Dec2010, Vol. 11 Issue 5, p415-433. 

Subjects: ALLEGORY; FICTION; SPAIN; GOYA, Francisco, 1746-1828; GODOY, Manuel de, principe de la Paz, 1767-1851

Moors and the Bullfight: History and National Identity in Goya's Tauromaquia.

By: Schulz, Andrew. Art Bulletin. Jun2008, Vol. 90 Issue 2, p195-217. 23p.

Subjects: BULLFIGHTS in art; SPAIN; GOYA, Francisco, 1746-1828. Tauromaquia; GOYA, Francisco, 1746-1828

Stirling, Ford, and Nineteenth-Century Reception of Goya: The Case of the Santa Justa and Santa Rufina: 'Abomination' or 'Appropriate Composition'?

By: Macartney, Hilary. Hispanic Research Journal. Dec2007, Vol. 8 Issue 5, p425-444. 20p. 1 Illustration. DOI: 10.1179/174582007X245294.

Subjects: SPANISH painting; SPANISH art; ARTISTS; Independent visual artists and artisans; Independent Artists, Writers, and Performers; GOYA, Francisco, 1746-1828; FORD, Richard, 1944-; STIRLING, William

Goya's Language.

By: Stanton, Edward F. Romance Quarterly. Winter2007, Vol. 54 Issue 1, p79-92. 14p. 10 Illustrations.

Subjects: ENGRAVING; ENGRAVERS; DONKEYS in art; SATIRE; AMBIGUITY; GOYA, Francisco, 1746-1828

Francisco José Goya y Lucientes: Approaching Los Disparates.

By: Tomlinson, Janis A. Romance Quarterly. Winter2007, Vol. 54 Issue 1, p3-8. 6p.

Subjects: PROVERBS in art; ETCHING; PRINTMAKERS; CHARACTERS & characteristics in art; GOYA, Francisco, 1746-1828

Abjection Sustained: Goya, the Chapman brothers and the Disasters of War.

By: Shaw, Philip. Art History. Sep2003, Vol. 26 Issue 4, p479.

Subjects: REALISM; WAR; SPAIN; CHAPMAN, Dinos; CHAPMAN, Jake; GOYA, Francisco, 1746-1828

Satirizing the Senses: The Representation of Perception in Goya's Los Caprichos.

By: Schulz, Andrew. Art History. Jun2000, Vol. 23 Issue 2, p153. 

Subjects: SENSES & sensation in art; GOYA, Francisco, 1746-1828. Caprichos

The expressive body in Goya's Saint Francis Borgia at the Deathbed of an Impenitent.

By: Schulz, Andrew. Art Bulletin. Dec98, Vol. 80 Issue 4, p666.

Subjects: PAINTING; GOYA, Francisco, 1746-1828

Goya's Bizarre World of Los Caprichos.

USA Today Magazine. Jan2007, Vol. 135 Issue 2740, p27-33. 7p.

Subjects: PAINTING; ART -- Exhibitions; INQUISITION; CORRUPTION; WITCHCRAFT; UNITED States; SPAIN; GOYA, Francisco, 1746-1828 -- Exhibitions

The Disasters of War.

By: Waring, Belle; Fee, Elizabeth. American Journal of Public Health. Jan2006, Vol. 96 Issue 1, p51-51. 1p. DOI: 10.2105/AJPH.2005.071506.

Subjects: ETCHING, Spanish; PRINTS; PENINSULAR War, 1807-1814; ETCHING; ART & war; ART & history; ART; WAR; BATTLES; Print and picture frame stores; GOYA, Francisco, 1746-1828. Disasters of war

Focus on the light instead of the shadows.

By: Sossan, Joanne Von. Arts & Activities. Jan2006, Vol. 138 Issue 5, p26-27.

Subjects: ART -- Study & teaching; ETCHING; EXPRESSIONISM (Art); GRAFFITI; INSCRIPTIONS; GOYA, Francisco, 1746-1828; KOLLWITZ, Kathe, 1867-1945

Images of Pleasure: Goya, Ekphrasis and the Female Nude in Blasco Ibanez's La maja desnuda.

By: Murphy, Katharine. Bulletin of Spanish Studies. Nov2010, Vol. 87 Issue 7, p939-957

Subjects: CRITICISM; EKPHRASIS; FEMALE nude in art; SPANISH literature -- 20th century; HISTORY & criticism; LA maja desnuda (Book); BLASCO Ibanez, Vicente, 1867-1928; GOYA, Francisco, 1746-1828

.Abjection Sustained: Goya, the Chapman brothers and the Disasters of War.

By: Shaw, Philip. Art History. Sep2003, Vol. 26 Issue 4, p479. 

Subjects: REALISM; WAR; SPAIN; CHAPMAN, Dinos; CHAPMAN, Jake; GOYA, Francisco, 1746-1828

Disparate femenino: Seduction, Subversion, and Power.

By: Butler, Krissie. Romance Quarterly. Winter2007, Vol. 54 Issue 1, p9-15.

 Subjects: GENDER role in art; ETCHING; PAINTERS; TAPESTRY; WOMEN in art; Independent visual artists and artisans; Independent Artists, Writers, and Performers; GOYA, Francisco, 1746-1828