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

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

„[the painting 'Yard with Lunatics' shows].. a yard with lunatics, and two of them fighting completely naked while their warder beats them, and others in sacks; (it is a scene I witnessed at first hand in Zaragoza).“

— Francisco De Goya
letter to his friend Bernardo de Iriarte, 7 Jan, 1794; as quoted by Jane Kromm, in The art of frenzy, 2002, p. 194 [https://en.wikipedia.org/wiki/Yard_with_Lunatics] The painting 'Yard with Lunatics' (Spanish: Corral de locos) is a small oil-on-tinplate painting completed by Goya between 1793 and 1794; Goya says here that the painting was informed by scenes of institutions he witnessed in his youth in Zaragoza

„.. As a matter of fact, last winter I was painting on ivory; I've already got a collection of forty studies, but these are original miniatures, of a kind I've never seen before, entirely done with the point of a brush, with details that are closer to the brushwork of Velásquez than to that of Mengs.“

— Francisco De Goya

„I sent you a lithographic proof that shows a fight of young bulls.... and if you found it worthy of distribution, I could send whatever you wish... I once again ask your advice, for I have three others made, of the same size and bullfight subjects.“

— Francisco De Goya
letter to Joaquín Ferrer, Bordeaux, End of 1825; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 390 & note 8 Goya's quote indicates how quickly he learned the for him new print method of lithography; the litho-prints here referred became collective known as the 'Bulls of Bordeaux'[https://commons.wikimedia.org/wiki/File:Bullfight_in_a_divided_ring,_from_the_%27Bulls_of_Bordeaux%27_MET_270385.jpg][https://commons.wikimedia.org/wiki/File:A_picador_caught_by_a_bull,_from_the_%27Bulls_of_Bordeaux%27_MET_MM7175.jpg]; and the rarest Goya-prints because they were published in a small edition of one hundred sets by the Bordeaux printer Gaulon.

„To occupy my imagination, which has been depressed by dwelling on my misfortunes, and to compensate at least in part for some of the considerable expenses I have incurred, I set myself to painting a series of cabinet pictures.... they depict themes that cannot usually be dealt with in commissioned works, where 'capricho' [whim] and invention do not have much of a role to play. I thought of sending them to the academy..“

— Francisco De Goya
letter to his friend Bernardo de Iriarte, deputy of the Royal Academy of San Fernando in Madrid, Jan. 1794; as quoted in 'Goya and Iriarte', in Goya his Life and Work, P. Gassier and J. Wilson, 1971, p. 382 cabinet paintings were small portable paintings, which did not need a lot of wall-space and could be moved around at the owner's whim. Goya's famous series 'Caprichos' really begin after physical and probably mental breakdown in 1792. He was 46, and thereafter deaf until his death in 1828

„I haven't heard them [n. d. r. he's talking about some Spanish popular folk songs] and probably never shall because I no longer go to the places where one could hear them, for I have got into my head that I should maintain a certain presence and air for dignity.... that a man should have, and you can imagine that I'm not very happy about it.“

— Francisco De Goya
letter 206, c. 1787; in Goya, A life in Letters, edited and introduced by Sarah Simmons; transl. Philip Troutman, London, Pimlico, 2004 Goya understands that the social role he has reached (he is royal painter from 1789) will prevent him from attending places where people sing [http://letteraturaartistica.blogspot.nl/2015/09/goya-life-in-letters-edited-and.html]

„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

„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

„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

„As I am working for the public, I must continue to amuse them.“

— Francisco De Goya
letter to his friend Don Martín Zapater, c. 1784; taken from Francisco Zapater y Gomez : Goya; Noticias biograficas, Zaragoza, 1868, La Perseverencia, p. 58

„But now? well now, now I have no fear of Witches, goblins, ghosts, thugs, Giants, ghouls, scallywags, etc, nor any sort of body.“

— Francisco De Goya
letter to his friend Don 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], Feb. 1784; as quoted in Goya, A life in Letters, edited and introduced by Sarah Simmons; translations by Philip Troutman, London, Pimlico, 2004 The reference to the occult and the world of demons, which then will populate the art of Goya during the 1800's, takes form in a couple of occasions Goya wrote to his friend Martín that he is a painter-demon. [http://letteraturaartistica.blogspot.nl/2015/09/goya-life-in-letters-edited-and.html]

„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

„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

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