Goya

Goya’s Madrid hill saved from builders

July 8th, 2010 Francisco de Goya y Lucientes 021.jpg Environmentalists battling to save a popular green ridge in old Madrid depicted in Francisco de Goya’s painting La Pradera de San Isidro have won a reprieve from development. Read Goya’s hill saved from developers (The Independent)

The Wine Harvest by Goya

June 27th, 2008

wine harvest by Goya

The Wine Harvest (La Vendimia) was painted by Goya between 1786 and 1787. The painting’s other name The Autumn (El Otoño) is in reference to the fact that it forms part of a series of four paintings depicting the seasons of the year. The landscape is thought by some to depict Campo de Borja, in the province of Zaragoza, famous for its wines, and located at the foot on the imposing Moncayo, the highest peak in the Sistema Ibérica. See also The landscape of Goya 1

The landscape of Goya 1

September 20th, 2007

Goya was one of the first landcape painters. He had other motives than depicting pretty scapes. Here below Attack on a Coach Asalto de la diligencia (1787 and 1783 below)

Attack on a Coach

From Classical connections – commentary and critique “Goya (1746-1828) undermines faith in order, showing instead the isolated forest where disorder reigns: travelers plead for their lives to murderous but indifferent bandits whose ruthlessness is more a reflection of nature than inherently cruel. The dead bodies of coachmen bleeding away to senselessness are no deterrent to further savagery. Goya does not predict the outcome of this tragedy, rather invites viewers to speculate in clinical abstraction about the amoral motives of robbers and the plight of travellers. As the first of two similar scenes of robbers attacking carriages, the other a smaller canvas (43 x 32 cm) in 1793 set in a rocky landscape and now in Madrid, the scene “present a vision of Man’s helplessness before the forces of nature or human wickedness…” Goya’s pitiful surviving travelers have no recourse surrounded only by trees who seem to not hear the screams or last prayers any more than the musket shots and curses. Goya is not glorfying such attacks, only recording the abstract threat of rampant chaos to any civilization foolish enough to think it is safe. ”

Asalto de la diligencia