Франсиско Гойя цитаты

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Франсиско Гойя

Дата рождения: 30. Март 1746
Дата смерти: 16. Апрель 1828
Другие имена:Francisco José de Goya y Lucientes, Francisco J. de Goya y Lucientes, E Lucientes Francisco José Goya

Франси́ско Хосе́ де Го́йя-и-Лусье́нтес — испанский художник и гравёр, один из первых и наиболее ярких мастеров изобразительного искусства эпохи романтизма.

Подобные авторы

Федерико Гарсиа Лорка38

испанский поэт, драматург, музыкант и художник-график

Мигель де Унамуно13

испанский философ, писатель, общественный деятель

Цитаты Франсиско Гойя

„Фантазия, лишенная разума, производит чудовище; соединенная с ним, она — мать искусства и источник его чудес.“

— Франсиско Гойя

Об исскустве, О матери

„Imagination without reason produces impossible monsters; with reason, it becomes the mother of the arts, and the source of its marvels.“

— Francisco De Goya
quoted by Albert Frederick Calvert, in Goya; an account of his life and works; publisher London J. Lane, 1908; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, pp. 355-377 Goya wrote this inscription upon a later copy of the etching-plate Capricho no. 43

„Fantasy abandoned by reason produces impossible monsters“

— Francisco De Goya

„Beloved soulmate.... you'll kiss my ass at least seven times if I manage to convince you from the crazy happiness I got from living here [Madrid].... the various insects with their deadly weapons, made of needles and penknives, which, if you don't look out and even if you do, will tear away your flesh and your hair as well.... and you can't find a spot far enough away from them to escape their cruelty. This infection is general in every town..“

— Francisco De Goya
letter to his friend Don Martin Zapater, Madrid, 25 Feb. 1785; from: 'Francisco de Goya. MS Letters to Martín Zapater 1774-99', Collection of Prado - published as Cartas a Martín Zapater; ed, X. de Salas & M. Agueda, Madrid 1982 #64, p. 130 a coded quote from a heavily coded letter, in which Goya indicates his friend several of his clerical critics who decide about church painting commissions. Goya doesn't mention their names but do call their number - and makes no secret of disliking them

„Everything you tell me in your last letter, which is to say that to spend more time with me they will give up going to Paris, fills me with the greatest pleasure... I find myself much better, and I hope to be back where I was before... I am happy to be better to receive my most beloved travelers. This improvement I owe to Molina.“

— Francisco De Goya
letter to Javier (his only son), from Madrid, Summer of 1827; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 401 – note 15

„I can hardly describe the discord produced by the comparison of the retouched part of the painting and the part left untouched, the former having lost entirely the immediacy and brio of the brushwork and the latter the mastery of sensitive and discerning touches... For it is true that the more one retouches under the pretext of restoration, the more harm one does, and even the artists themselves, were they able to return, would not able to retouch their painting perfectly on account of the necessary change in the hue of pigments over time... No painting by Titian should be relined, nor any paintings by a number of other painters.... and, even when it is possible, the operation is more likely to result in deterioration than in improvement of the painting.“

— Francisco De Goya
from his Letters 263-264. circa 1801; in Goya, A life in Letters, edited and introduced by Sarah Simmons; translations by Philip Troutman, London, Pimlico, 2004 Early 1801 - Goya was then First Painter of the Court - the artist is sent to check the results of some restoration operated on works belonging to the Spanish crown. His 263-264 letters reveal the total opposition of Goya against any cleaning or restoration of older paintings

„Goya in gratitude to his friend Arrieta for the skill and great care with which he saved his [Goya's] life in his acute and dangerous illness, suffered at the end of 1819, at the age of seventy-tree years. He painted this in 1820.“

— Francisco De Goya
inscription by Goya, 1820 Goya painted this long inscription in 1820, - in the tradition of the ex-votos in the churches - in the double-portrait, [of his friend, and of Goya himself as the patient], he made of his doctor Eugenio Garciá Arrieta who helped him in 1819 with a severe illness

„Always lines, never forms. Where do they find these lines in Nature? Personally I see only forms that are lit up and forms that are not, planes that advance and planes that recede, relief and depth. My eye never sees outlines or particular features or details...... My brush should not see better than I do. [Goya, in a recall of an overheard conversation]“

— Francisco De Goya
conversation of c. 1808, in the earliest biography of Goya: Goya, by Laurent Matheron, Schulz et Thuillié, Paris 1858; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 176 probably not accurate word for word, but according to Robert Hughes it rings true in all essentials, of the old Goya, in exile

„The group of sorcerers who form the support for our elegant lady are more for ornament than real use. Some heads are so charged with inflammable gas that they have no need for balloons or sorcerers in order to fly away.“

— Francisco De Goya
a note on an etching-plate, 1795/96; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, p. 195 Plate 61 of 'Los Caprichos' represents a beautiful lady flying with outstretched arms in butterfly fashion, but supported at the feet by three grotesque creatures crouched in the attitude of the carved misers under monkish stalls. Upon a copy of this plate Goya scrawled this note

„The author [Goya] is convinced that it is as proper for painting to criticize human error and vice as for poetry and prose to do so, although criticism is usually taken to be exclusively the business of literature.“

— Francisco De Goya

„I am now Painter to the King with fifteen thousand reales [a year].... the King sent out an order to Bayeu and Maella to search out the best two painters that could be found, to paint the cartoons for tapestries. Bayeu proposed his brother, and Maella proposed me. Their advice was put before the king, and the favor was done, and I had no idea of what was happening to me.“

— Francisco De Goya
letter to his friend Don Martín Zapater https://www.wikidata.org/wiki/Q3915977,June 1786; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 81 Goya was already forty then; the four painters should paint the designs of all the new tapestries for the royal palace; their designs were then woven in the Royal Tapestry Factory

„My dear soul, I can stand on my own feet, but so poorly that I don't know if my head is on my shoulders. I have no appetite or desire to do anything at all. Only your letters cheer me up – only yours. I don't know what will become of me now that I have lost sight of you; I who idolize you have given up hope that you'll ever glance at these blurred lines and get consolation from them.“

— Francisco De Goya
letter to his friend Martín Zapater https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg,March 1793; from: 'Francisco de Goya. MS Letters to Martín Zapater 1774-99', Collection of Prado - published as Cartas a Martín Zapater; ed, X. de Salas & M. Agueda, Madrid 1982, p. 211; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 127 Goya started to become deaf then, had fainting fits and spells of semi-blindness. From 1793 onward [he was 46] he became functionally deaf, till his death

„No recognition / Nadie se conoce' [Goya wrote on this plate no. 6:] The world is a masquerade, faces, costumes, voices, everything a lie. Each person wishes to appear what he is not. The whole world deceives itself, and no one recognizes himself.“

— Francisco De Goya
as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, pp. 355-377 Goya wrote this explanatory comment on the plate of Capricho no. 6

„My position is entirely different from what the majority of the public imagine... I want a great deal, firstly because my position entails expenditure, and secondly because I like it. Being a very well-known man I cannot reduce my expenses as other people do. I was about to ask for an increase of salary, but the conditions are so unfavorable that I must set the idea aside.“

— Francisco De Goya
letter to his friend Martín Zapater, https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg,February,1790,from Francisco Zapater y Gomez: Goya; Noticias biograficas, Zaragoza, 1868, La Perse Verencia, p. 50 Goya is reacting on a request to borrow money, which arouses his quick protest

„My health has not improved. Often I get so excited that I cannot bear with myself. Then again I become calm, as I am at this present moment of writing, although I am already fatigued. Next Monday, if God permit, I will go to a bull-fight, and I wish you were able to accompany me.“

— Francisco De Goya
letter to his friend Zapater, April 23, 1794; in Goya; Noticias biograficas, Francisco Zapater y Gomez, Zaragoza, 1868; first published in 'La Perseverencia', p. 53; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, p. 203-204

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