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TnE E I G H TE E NTII C E NTU RY VO L V III — I N E NG L I sII C A RI CA T U RE B y S E LW Y N B RI N T O N, M A W i th t wo C oloure d a nd s ix te e n fiI l l p ag e I llustra t i o ns (vi i i 9 6 ) VOL I X — I TA L I A N A RC H IT E CT U RE By W B W N M W n u m er o us O OD R O A i th , J ii full pa g e I ll ustra t i ons v i 8 8 ( ) VOL X —RO ME As AN ART C ITY By ALB ERT "A C H ER W ith n um e r o us full i a g e I ll us t r a ti on s v i i p ( 9 5) N F RA N O IS M I LL E T V O L XI EA B J y C W i th t wo P hoto RI C H A RD MU T H ER n full p a e I ll ustr a t i o ns r vu r s a n e a e d t g g i 2 v ii ( 7 ) W II I STLE R By H W S I N G E R VO L X I I — W ith o n e P hotog ravur e and s i x teen full pag e I llustr ation s F RANC I sCO DE G OY A X III By RI C H A RD MUTII E R W ith o n e Ph o to gr a vur e a nd s i x t e e n full pa g e I llu st r a t i o n s .
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I NTROD UC TO RY d e pict the cre ative wo r k o f Goy a is to t a ke a su r v e y of the history of S pa in i n 1 7 5 0—1 8 2 0 n a y mor e to t a ke a e t more y ge n e ra l survey o f t h e histo r y o f E u rope du r i n g this stirri n g e poch W e must tra n spl a n t ourse lv e s i n thought to t hfi se y ea rs wh e n a n O ld a n d b e a u tifu l wo r ld w as falli n g t o piec e s a n d o ut o f t he ferme n t i n g bubbling vat o f ch a os o u r prese n t w o rld w a s slowly t a ki n g sh a p e B ut with W h a t t e rrific strides did not t he Time S piri t o f thos e d a ys p a ss over t he la n ds Wm 1a Jai e " Th a t is the motto th a t rings o u t i n the beginning o f this e ig hteent h c entury Th e Old O
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aristocra tic society— the society o f the a nci en r e i me — is d c l e br a ti n g with f e verish e light its e g new a ge Of Rococo and fro m those fa r O H da ys th e re s ee ms t o reach us the fa int fra gra n ce Of the w a t e r lili e s a n d the rustli n g o f silke n t r a i n s the fa n b e com e s a ga in a we a po n Of coque try a n d da i n ty shoes a n Obj e ct Of a lluremen t N a y the W hol e world Of fa shion s e e ms th e n tr a n s ported t o some isl e Of Cyth e ra where the ca res o f our prosa ic life h a ve nev e r found a n e ntra n ce Y e t e ven W hile th e s e l a di e s a n d g e ntleme n Of a lity a ttir e d a s col u mbi n e s o r pierrots a r e e nj oy u q in g th e ir p a sto r a l sce n es Of ga ll a n t r y u po n th e ir billi n g a n d cooing there bre a ks s u dd e n ly the sound o f rough voices Me na cing sym ptoms se e m to hi n t th a t t h e Pl e be i a n t oo is C l a imi n g h i s pl a c e a t this ta bl e o f Life s d elights The tr u m pe t pe a l o f h a n e w a e ri n gs o u t e w a tchwo rd a n d w a r c r T g y “ Of t he R e volution : L i ber ty E q ua l i ty F r a t er n i ty h a s be e n spok e n l I n the very for e front o f the fra y a r e the gr e a t ’
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I N T R OD U C T O RY write rs
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ti r e ly n ew pri n c i pl e s o f religious politic a l a n d soci a l progress th e y sowed t he se e d which rip e n e d at the close o f the ce n tury Jea n Ja cque s Rousse a u a ppe a rs first o n the scene J ust a s once Tacitus ha d displ a yed to t he Rom a n s o f the D ecli n e the virtues Of the Old Germanic ra ce eve n so Rouss ea u no w showed t o th a t e n erv a ted a ristocra tic world the simple stro ng Ma n o f t he Peopl e Th a t was in 1 76 1 Thirteen y e a rs l a ter ca me Go e the s W er ther — a love story it is true but at t he sa me time the uttera nce Of a you ng Tita n W hose cr a vi n g for fr e edom would fa i n bre a k a l l the silken fett e rs o f society A nd soon Schill e r too c a me to follow in h is st e ps with th a t fi r s t born o f his works which w a s a decla r ation S ha me " o f wa r a ga i n st a l l ex isting instituti o n s S ha me on thi s fl a bby ema s cula ted centur y " cri e s K a rl “ Moor i n T he R obbers C ould I but set i n t he .
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FR A N C I S C O GO Y A
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m a r ke d e m ph a sis F i est a is ca ll e d u po n its titl e p a ge A R e pu blic a n T r a ge dy Ka ha le una L i ehe de a ls u n s pa r ing blows a t t he rott e n conditions o f existing life I n 1 7 8 9 t he di e w as c a st ; and t he Rev o lu t i o n com plete d wh a t t h e write r s h a d be g un Th a t “ — s a yi n g o f t he M a r q u is e de Apr h P omp a dour —b e c a m e a fr ightful re al ity Lik e nous l e d él ug e with co n fused t h e m u tter o f t h e comi n g storm a n g r y not e s th e r e rose t h e str a i n s Of t h e a Ir a C o f th e i r h u ts a n d t he M a r s ei lla zse a s o u t and g a r r e ts with e m pty stom a chs a n d pa r ch e d th r o a ts, — th e y pour e d forth t he disi n h e rite d t he Peopl e the C a na i l le Th e y pr e ss forwa r d like sp e ct r e s whom t he e a rth has vomit e d u p the red c a p Of Li b e rty o n their h ea ds a n d a rm e d with h a tchets pike s o r fl a ils Th e y crowd i n to the W ell trimmed g a rd e n s i n to t he Pa l a ce s a n d S a lon s ; th e y d r i n k choice vi n ta ges ou t o f t he bot t les, clink glasses o f delica te -
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FR AN C I S C O GO YA
6
h a nge d the Republic Of Rom e i n to the E mpire o f t he C ae sa rs s o here too i n Fra n ce R e pu blic giv e s pl a ce t o E mpire A nd fi n a lly the sc e n e ch a n ges yet once more A fter th a t i n those da ys o f Re v olution men ha d dre a med o f the uprisi n g Of H um a n ity from the bonds Of servitude— a fter N a pol e on l a te r ha d sw e pt a cross t he thro n es Of E urope like a n e mbodime n t o f D e sti n y— now comes the Restora tio n to a n n ul a ll th a t t h e Re volution ha d a chi e ved T h e divi n e ly a ppointed Mo n a rchs re a scen d th e i r d e s e rted thro n es Fr a nce hers e lf receives C h a r l e s X a s ruler Conve n t doors a g a in a r e Open e d , a n d bl a ck pri e sts s wa rm like locusts ov e r the l a n d Th a t ig n omi n ious epoch follows which de Musset describe d i n his “ n d if youth C on A essi ons d un enfa nt d u sil cle f S pok e o f Fa m e t h e r e ply w a s B e com e pri e sts a n d if Of Ho n our a n d Pow e r Of Love a n d Life the reply w a s e ver t he s a m e B e come p r i e sts A ll the struggl e s o f the p ast a l l t h e blood th a t had bee n shed in th e m s e e m e d fruitl e ss a nd c
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I N T RO D U C T O R Y
7
forgotte n ; a n d for a long time a ll hop e s were buried E ven in Sp a i n th a t l a nd Of med i ae v a lism the grea t move me n ts we have i n dica ted found their echo Rococo the Storm Of Revolution the Re a ction — here history is summ a rised in these too three phra ses A t the b e ginni n g o f the eighteenth cent u ry the w a tchword Vi ne 1a Joi e fi nds in Sp a in t o o a re a dy a ccepta nce N o t , we m a y well im a gi n e in the Old m e di ae v a l Spain There o u r thou ghts pi cture gloomy nobl e s enclosed in icy n d r ing r a e z z a n a hum n bei g with st eyes o s r a g m a de red with weeping w ho kneel before the upr a ised Crucifi x B ut if we turn asid e t o Spa i n Of the Rococo — th e re a ll is giddi n ess frivolity, l a ughter 1 Those silke n sh e pherds a n d she pherdesses Of t he T r i a no n cla d in rose red o r blue h a ve force d a n e ntrance eve n i n to this blac k spot o f mother the W hole soci a l life has become p e n etra ted e a r th with Fr e nch eleme n ts wi th P a risi a n esp r i t with P a risi a n immora lity A t fi rst a s lo n g as Cha rl e s I I I .
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F R AN C I S C O GO YA
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his cou n try s thro n e t h e i n n er rotte n n e ss w a s still co n ce a l e d a n d som e thi n g like t he sun se t glow Of t h e good O l d d a ys s e e m e d to li n g e r ov e r t he l a n d But wh e n in 1 7 8 8 Ch a r les I V ca m e to pow er a co n ditio n Of thi n gs a r os e which puts everythi n g a leuse Of e ls e i n to t h e sh a d e th a t t h e C hr oni ue sca h d q those e ighte e n th cent u ry Co urts h a s to tell u s U pon the thro ne th e r e sits a Ki n g who seems a H e rcul e s i n physica l stre n gth ; who bra wls with pe a sa n t s a n d box e s hi s o w n Mi n ist e rs ea rs An d this appa r e n t gi a n t this bei n g with t he ga it a nd voice O f a b e a r is o n t he i n tell e ctual sid e a we a k ch a ra ct e r l e ss pupp e t i n t he h a n ds of his wi fe M a ri e Louis e of P a rm a a mod e rn M e ss a li n a hol ds t he re a l ke ys o f pow e r a n d pla y s before t he v e ry e yes o f h e r pe opl e a d r a m a m o r e loa thsom e more cy n ic a l in its lewd n e ss th a n a n y hea ve n a ppoi n t e d m o n a rch h a s els e wh e re ye t a chi e ve d W hil e t he Ki n g is w a st i n g his tim e a t t h e c a r ds or shooti n g r a bbits ,t he e e n is ga d d i n g a bo u t with you n g o ffi c e rs u A t Q l a st o n e O f he r lov e r s M a n u e l Go doy a l i e u t e na n t was
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K I N G C H A R LE S I V
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I N T RO D U C T OR Y
9
Flemish Gu a r d is a ppoi n t e d Prim e Mi n ist e r Of S pa i n a nd— i n cre di bl e tho ugh it se e m i t is g ua r a nte e d by history— this p a ra mo u r of t he Qu e e n the ill u strious a n c e stor o f the princ e ly fa mily o f the d e la P a z is a t t h e sa me time the mi n io n o f t he K i n g A nd a s t h e Mo na rchy is r otte n to t he co r e e ve n so is t he Court ev e n so is t he whol e l a n d ‘ Public o fli c e s go t o t he high e st bid d e r E ight e e n tho u sa n d priests a r e dra i n i n g a t t he p e opl e s life blood ; a n d yet this sa m e p e opl e re m a i n s so c o n v i nc e d Of t he i n disput a bl e s a n ctity o f t he Mo na r chy th a t for full twe n ty y e a rs it sup ports this r u l e O f infa my without com pl a i n t T h e grea t ev e n ts i n F r a n ce r e m a i n without r e s po n s e i n S pa i n — u n til a t l a st i n 1 8 0 8 N em e sis dra ws n e a r to C h a r le s I V a nd M a rie Louise T h e m e r e fa c t th a t t he C r ow n P r i n ce F e rdin a n d is a n o ppo nen t of Godoy t u r ns Sho u l d t he t h e p e opl e s symp a thi e s tow ar ds him Old King a bdica t e th e n his fa vourit e s fa ll m u st follow But h e r e — thou gh sca r ce ly c r e di bl e i n S pa i n— a fa mily qua r r e l a lte rs t he pa th O f hi sto r y i n t he
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FR AN C I S C O GO YA
IO
Ch a r le s I V h a t e s his o w n so n H e would fa in d isi n h e rit him a n d with his o wn h a n ds he l a ys a t B a yo nn e the crown o f his country a t t he fe et o f the Fre n ch E mp e ror N a poleon a ppoints his bro t her Jos e ph B uon a p a rt e t o be Ki ng o f Spa m ; a n d t he pa rty o f progress we lcom e him for th e y se e i n him t h e Liber a tor t h e m a n w ho sh a ll d e liv e r Sp a in from the disgra c e o f t he B our bo n rul e B u t is n o t d a rk n e ss p e rh a ps b e st suit e d to a l a n d which ha s owned the s wa y Of Phili p II coul d a soil w here or sti fli n g dog m a tism ha d fo u nd its n a tiv e e l e m e n t W ould b ea r the pure sweet bre a th Of Fr ee dom not t he pri e sts be m e n a ced i n th e i r pi ou s i n dol e n ce if t h e S pirit o f en lighte n me n t wen t a broa d through S pa i n S O it was th a t t he Re a ction r a ised its h e a d h e re eve n e a r lier th a n in other l an ds The p e ople i n “
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I N T RO D U C T OR Y
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th ei r superstitious r e v e renc e for a ll th a t w a s o l d with t he priesthood a t th e ir he a d rose in h e roic re sista nce to the for e ign invad e r N a poleon him self took the l a n d fo r a whil e i n to his o w n pow e r “ ful gra sp Je 1a t i ens enfi n cet t e E sp ag ne t a nt desi r ee he s a id a t the close o f 1 8 0 8 to his broth e r Jose p h a s he stood in the h a ll o f the roya l p a l a ce a t M a d r id But not e v e n he the god o f w a r himself could succeed in cr u shing the unco nq u e r abl e spirit O f the people The Vol untee rs su p ported by E ngl a n d ga i n ed the upper h a nd O n A ugust 1 0 1 8 1 2 Ki n g Jose ph fled from M a d r i d n e ver t o r e turn ; a n d a t the l a st in 1 8 1 4 with Fe rdi n a nd V II Retrogressio n a n d Cle r ica lism o n ce mor e a sc e nded the thro n e The da rkest time s o f a n d the I n quisitio n t he Middle A ges s e e m returned " “ c e l e bra tes ne w tri u mphs E v er y her et i c sa i d “ sha ll o ne o f t h e e a rli e st decrees o f the n e w Ki n g ,
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FR A N C I S C O GO YA
12
s e lv e s th a t it co n ta ine d nothi n g co n tra ry to o u r Holy Mother Church a n d th e C a tholic Fa ith A s — i n F r a n c e so here t o o a l l ha s b e com e fr uitl e ss a l l the e n thus ia stic id e a ls of t he p a st a l l t h e blood t hat An d S pa i n si n ks ba ck to h a d b e e n sh e d fo r th e m v e ge ta te in th a t co n dition Of o ppressive i m pote n cy from which s he h a s n e ver si n ce b e e n a ble to r i se I n Goy a s oe uv r e a ll th e s e m e lod i e s of t he Time S pi r it a r e bl e n d e d tog e th e r i n to t he wild e st pot p our r i I n t he ba ttle O f his a ge h e stood in t he fore fr o n t of t he fr a y hi m s e lf its sta n dard b e a rer its focus Lik e some H a r leq u i n with h is wa n d a n d ca of b e lls h e skips a ft e r t h e fu n e r a l c a r O f t h e O l d p a r istocra tic soci e ty A s a d a r i n g r e fo r m e r h e se e ks to m a ke r e a dy t he pa thw a y o f t he ne w a g e and e t i t is as a P e ssimist d e s a ir i n g of e v e r ythi n g p y —e v e n O f t h e Fr e e dom he ha d o n c e lov e d so a s p — th sio na tel a t h e clos e s his e y e s a t t he l a st y .
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C H A P TE R I I
Y
G O A AND TH E RO C O C O
D E OS E GO YA J L U C IE N T E S w a s born o n M a r ch
RA N C I S C O
6 74 ,
Y
3
0,
poor p e a sa n t i n the vill a ge O f F u e n t e t o do s i n A ra go n W h e th e r or n o — u e e e Gio t sq l g n d be tru which m a ke s him h t e e t e t o be dis c ov e r e d by so m e d istinguish e d g e n tl e m a n whil e he sa t a mo n g his flocks busy with drawi n g — is a qu e stion w e m a l e a v e t o its e lf I n a n y y c as e i n his fourte e n th yea r h e bec a me pupil t o a n a goss a e i t r at S a r a p The n fo llowed y e a rs Of storm a n d struggl e O ur thoughts g o b a ck to C a r a v a ggio wh e n we co me to st udy this Boh e m i a n a rtist s life which i n 1
as
t he s o n O f
a
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FR A N C I S C O GO YA
14
its first ye a rs re a ds like a crimi n a l r om a nce W ild a n d passion a t e a n a thl e t e in his physica l streng t h Goya is ev e rywhere pre sent wh e n d a n ci n g o r lov e m a ki n g s c u fllin g O r sta bbi n g is goi n g forwa rd I n o n e Of th e s e a fi a i r s Of the k n i fe a t n ight t hre e m e n are left wounded a n d bl e e di n g a n d— j u st like Ca ra va ggio when he ha d sta bbe d his comra d e o n the sca ffoldi n g a t Venic e — Goy a ta ke s h a sty flight He ta rries a whil e in M a d r i d wh e r e fr om 1 7 6 1 Ra ph a e l M e n g s h a d b e e n wo rki n g a nd from 1 7 6 2 But e v e n ther e h e do e s t he V e n et i a n Tiepolo n o t r e m a i n for l o n g H e is wou n d e d i n som e love a dv e n ture l c e d un d er olic su e rvisio n ; a nd a e p p p e sc a pi n g t h e city with a b a n d o f b u ll fi h t e r s t a ke s g sa il to I ta ly a s if the r e h e ha d rea ch e d a t l a st a h a rbour o f refuge By t he e n d o f t he si x ti e s he is in Rome — where a l l the artists o f the world then flocked to st udy t h e a n tiq u e st a tue s i n h e r Museums B ut for Goya the a n tiq u e h a d n o more e x ist e n c e th a n the m a gn i fi c e n t a r t O f t h e ci nq ue cento : wh a t a ttr a ct e d him w a s ra ther t h e t e emi n g life o f the .
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GO YA
AN D T H E
RO C O C O
1
5
p e opl e O u t O f the r e d rob e s of the pri e sts the costum e s g a y wi th colour Of the wom e n Of Tra stev e re t he m e rry c a re l e ss freedom Of the L a z z a roni he cre a ted a fra gm e nt Of Life rich with a l l its v a ried c olour Muleteers with their j a n gli n g ca rs religious processio n s a n d C a r n a v a le m a sques — these form t he contents Of his sketches Yet even in Rome he c a nn ot ta rry lo n g O n ce a ga i n it is a love a dv e nture th a t m a ke s t he soil too hot for him The Old stor i e s re l a te th a t he m a d e his e n tr a n ce by n ight i nto a co n vent o f n uns w a s c a p ture d , a n d on ly esca ped t he g a llows by the most rec kless a n d hea dlo n g flight I n 1 7 7 1 we fi n d him b a c k i n S a ra goss a wh e re i n fa Ct it was n o t ye t t oo sa fe fo r him but where the ki n d ly w a lls O f a mon a ste ry sh e ltered him from t o o curious eyes An d now a ga i n i n 1 77 5 the sce n e ch a n ges in t h e stra n gest m a n ner W e discov e r him i n M a drid — the sc a pe g r a ce a dv e n tur e r t he h e r o o f t he s til e tto m a rri e d to Jose fa B a ye n the sister Of a painter O f good sta ndi n g NO le ss a ,
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FR A N C I S C O GO YA
I6
3
n n d a n n n c e d so th A to R ph l gs i t r o a a e n h a u M e s p him to the Ki n g Ch a rl e s I I I sits to him fo r h is r a it ; t he ort Prime Mi n ist e r Flori da Bl a n ca p I n 1 7 8 0 h e b e c a me a me mb e r o f suit follows — t he A c a d e my r u r e ly a n d in its ir cto s 1 85 e D 7 t h e most rema r ka bl e D i r e c to r which i t e v e r h o s sess e d the most si n gul r b i n g w o ever a e p wi e l de d t he sce pt r e of th a t highly respect e d i n sti er
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t u t io n
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works O f this pe r i o d possess n o ve ry S peci a l i n t e rest for the y o n ly tre a t the sa me circle o f s u bj e cts which w as the n ev e rywh e re in vogue H e p a i n ts sweetly sug a ry M a do nn a s, j ust a s S assofe r r a to p a i n te d th e m i n I ta ly a n d Boucher in Fr a n ce H e m a ke s hims e lf a cq u a i n te d with the tech n ique Of e n gra vi n g a n d e n gra ves t hose pl a t e s a fter V e l a squ e z which like Kli n g e r s pl a tes a ft er B o e c k l i n possess for us their h ighest i n te rest b e cau se they a r e t he i n ter preta tio n o f a gre a t m a n by o ne who will l a t e r o n himse lf be g re a t An d more pa rtic u larly he h a d at this t ime to furnish a H is
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GO YA
RO C O C O
AN D T H E
1
7
number o f d e sig ns of ta pe stry for t he Roy a l t a p e stry m a n u fa ctory of S a n t a B a rb a r a T he sc e n e s which w e sh a ll fi n d him to most fa vour a r e the sa m e as w e re b r o u ght i n to vogue by Te n i e rs a n d ta k e n ov e r by t he Fr e n ch pa i n t e r s of P e a s a n ts a r e da n ci n g b e fo r e t he Rococo pe r iod t he t a v e r n Fer i a s a n d R omer i a s a r e i n full s wi n g you n g couples a r e lyi n g o n t he fr e sh gra ss Fl a sks che ese a n d bre a d a r e l a i d o u t u po n o f r e d w in e wh i te t a bl e cloths o r a ga i n w e se e pr e tty cou n t e sse s d r e sse d a s h a rv esters a n d k e e pl n g H a rv e st Hom e o r e ls e wr a p ed u d a i n ty fu rs th e y a r e e sco r t e d i n p p by th e ir c a v a li e rs over t he i c e O r I t I S a V isit to t he n ex t vill a ge wh e r e the yea r s fa ir is a t i ts h e ight a n d o fi e r s t he a tt r a ctio n o f j u ggl e rs mou n t e ba nks a n d d a n ci n g E lsewhere th e y pl a y at bli n d m a n s buff o r jok e with t he iti n e ra n t musici a n who is wi n di n g ou t his o r ga n music in t he roa d or it is a fa shion a bl e c r ow d with e y e gl a ss e s a nd a i r s of coqu e try which s u r g e s a t t he ho u r o f r o m e n a d e i n t he Pu e r t a de l Sol p .
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I
F R AN C I S C O
8
I n poi n t
GO YA
styl e th e s e works a r e v e ry di ffe rent from those o f the Fre nchm e n fo r th e y ha v e a l l t he loca l colouri n g Of the Pe n i n sul a W e miss th a t tender delica te colouri ng, those da i n ty c a p r i cio u s es ur t e s which w e h a ve le a rnt t o a drr ii r e in the g work o f W a tte a u a n d L a n cret Boldly a lmost coa rsely Goya p a i n ts si de by side t he stro n ge st reds a nd ye llows : with bruta l re a l ism h e de picts the rouge o n h is l a di e s che e ks a n d t h e d a r k pencilling Of their eyebrows The sti ff m a te ri a l Of the dress con cea ls a l l t he be a uties o f the form a n d the bla ck m a n till a c u ts Off e v e ry possibl e gra ce or piqua ncy Of mov ement a n d throu gh this es se n ti a lly Spa nish note Goya s works resemble fa r more those o f h i s mod e rn comp a triot "uloa g a t h a n thos e of his French contempor a ries A nd y e t i n the histor y o f cu lture t h e b a sis o f th e ir cre a tiv e work is id e ntic a l Th a t wo r l d o f the Ro c oco l a ughi n g lov e ly p a ssio n a te for pl e a sure but for e doomed t o dea th en t e rs the sc e ne h e r e in a S p a nish dress E spe ci a lly the picture o f the l a u ghi n g of
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TH E
P U PP E T M AN -
( P a m tzn g )
M a d r ad
,
P
r a
do
GO YA
RO C O C O
AN D T H E
1
9
wome n who a r e tossi n g a stu ffed pu ppe t fi gu r e Of a m a n u pon a sheet is symbolic o f t he whole epoch Ma n a s a p u ppet in the h a n ds o f wom a n I Ye s l th a t is t he very e sse n ce Of the Rococo I n Goya s portra its t O O t he a ristocra tic wo r ld O f t he Sp a nish Rococo com e s b e fore us I n the course Of ye a rs a s a d ilige n t schol a r o f Vela squez Goya ha d de v eloped i n to a n u n riv a ll e d portra itist H e is q uit e s u p e rb wh e n he comes to p a i n t you n g p e o pl e a mon g whom t h e refin e m e n t o f a n Old ra ce shows its e lf i n the s u pple courtly gestures a n d t he p a lli d worn fea tu r e s W he ther th e y w e a r pe a r l grey silk with fa vours o f rose colour o r a ffe ct the d a rk costume Of the se n timenta l W erth e r w hich c a m e into Sp a in a bout 1 77 5 both pose a n d colo u r scheme ha ve so d e lic a te a ch a rm th a t we ca n not hel p thi n ki n g Of Ga i n sborough s portra its o f boys An d his wom e n Th e y must h a v e be e n a n e x ce ptio n a l ra ci a l type t he Sp a n ish wom e n of fa shion in this epoch Of d issip a tio n The y s ee m ost bereft o f th e ir bo d ies a lmost to floa t i n a ir al m -
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FR A N C I S C O GO YA
20
wh it e a nd w an a n d life l e ss a r e th e y with t h e stra i n of thos e lon g nights giv e n u p t o pl e a su re
so
"
w i th
so
l i t t le bl ood l eft i n
t hei r
i
v e ns
t ha t t he
pul
se
"
Goya has re n de red ma rv e llo usly this e ther e a l bea uty O f a n o l d ra ce the se l a di e s with the powder o n their white cheeks with the sma ll fi n ely ch is e lle d n oses a n d bloo dl e ss lips with t he lon g cur ls Of bl a ck or r e d coloure d h a ir th a t fa ll i n w a v e s upo n th e i r shoulders T he spa re fi gu r e i s compress ed within a tight corse t ; a n d from b e n ea th t h e brig ht rob e s o f si l k pe rfum e d unde rwea r t r imm e d with c ostly l a c e som e tim e s hi n ts its pre se n ce I s i t i n gr e y tha t th e y ar e dresse d Th e n t h e w a rm so ft r ed of a rose giv e s t h e k e y n ot e to the silv e r h a rmo n y A re t he y w e a r Th e n the bla ck Of a w a i s t ba nd i n g whit e musli n o r a lo n g glov e m a kes a n e ffe ctiv e n ot e Of co n tr a st O r if h e is pa i n ting you n g un form e d girls w e a r e remi n de d Of G r e uz e s o d a intily a r e the pa le blue fa vours set i n th e ir h a ir so full O f m e a n i n g a r e t he e y e s s u c h piqu a n t i n te n t i o n is i n t h e po s e hea t s
a
l most
a
t
t hei r
w i ll
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GO YA
RO C O C O
AND THE
21
E ve n
in his n ud e stu d i e s Of wom e n he k n ows how to re n d e r t he q u ick e n i n g pulse o f life in a wo n derfu l m a n n er I n this co n n e ctio n O f course t h e fa mous double picture Of t he n a k e d a nd cloth e d M aj a which h a n gs i n t he Pra do Muse u m comes at o n c e i n to o u r thoughts T he o ne p a i n ti n g shows t he fi gure o f a yo u n g wom a n cloth e d o r , more a cc u ra te ly S p e a ki n g n a k e d i n spite Of her dress I n t he oth e r t h e a rtist h a s r e ve a l e d hims e lf l W e do n ot , ind e e d lo ok he r e upon th a t m aje st i c pa s nudity whi c h we com e to k n ow i n t he s i o na t e p a i n ti n gs o f Titi a n Giorgio n e a n d P a lm a N O h e r e we behold t h e n a k e d be a u ty o f t h e Rococo The quiv e ri n g bosom t he t e n s e mobil e limbs t he d a rk e y e s th a t gl e a m with hidd e n fi r e a ll bre a th e e x pect a ncy in this n ervous body th a t e x cit e me n t is outs tretch e d like I vory upon t he milk white couch which se e ms design e d for lov e The story runs th a t the l a dy who is d e picte d h e re w a s a fr i e n d Of Goy a, who bore t he ste r n But wh e n the D uke n a me Of D uch e ss o f A lb a .
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FRAN C I S C O G O YA fi rst
express ed a d e sire t o see the m a ste r s work Go y a pa i nted tha t other portra it whi c h r epresents An d t he l a dy less i n the s imple costume Of E den e ven i f th i s a nec d o t e be not corre ct ( fo r chro n ology t hr o w s a doub t upon i ts aut he n ticity ) su ch l e gends W e h a ve o n ly to look h a ve a lwa ys s o me w a rra nt a t this m a n with the a t the m a ster s s e lf p or tr a it bull n eck a nd full se n sua l lips t o understa nd th a t the coun tless stories which go t a bou t on t he su b j ce t o f his rel a tions W l t h the wome n o f hi gh society in M a d r id were n o t a ll inve n tions Of the fa ncy Goy a must th e n h a ve been the terror Of a ll the ir husba nds He ha d a m a rvellous voic e I n a l l the most a ristocra tic sa lons the women were a t his fee t a n d perh a ps the y a ppr e c I a t e d th e di f fe re n ce between this stu r dy m a n Of t he p eopl e a n d th e ir deca dent l o rds a n d m a st e rs I n a word Goya a r this time but liv e d hims el f to its n o t o n ly p a int e d Ro c oco fu ll the wi ld pa ssion a t e life o f th a t Rococo per i od I t is no t till t he ce ntury s close th a t h e s ee m s t o ’
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GO YA
AN D T H E
RO C O C O
23
ch a nge Had he fou n d in h is o w n person a l e x pe r i ence of li fe th a t s e n su a l p a ssion has mi n gled with i t a n eleme n t Of bitter n ess O r did the piteous spect a cle O f his cou n try a wa ke in him the P a triot , t h e ch a m pio n for its rights " F o r it is in his l a ter works th a t first a p pea rs t o o ur sight the t r ue the g e nui n e G oy a H e ca r e s n o more t o show i n his p a i n ti n gs how be a utiful th a t o ld world was, even wh e n it se e med worm ea ten a n d rotten with decay i n stea d o f this h is a r t n o w holds up the mirror t o its fa ce i n de r IS I On a n d re fl e cts its o wn frightful image There i s a pl a t e by his h a nd o f Chronos , w h o sweeps a w a y like dirt before hi s broom , t wo little Rococo cre a tures Th a t pri n t might serve a s t i tl e p a ge to this seco n d d ivision o f h is life work TO cl e a n se this Au g ae a n sta ble o f Spain ha s become t he g r e a t a i m of his life A p a rti sa n o f eve ry R e vo l u t i o n he a tt a cks all i n stitutions without sp a ring th e m O u t o f a ll the vices a l l the sc a n d a ls o f the a e h e pil e s up a hec a tomb o f c a ric a ture that i s a s g .
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2
FR AN C I S C O GO YA
4
p lli n g a s it is l a ugh a bl e But even while he d espise s d e rid e s dra gs through t he mud w h a t is h e is a ll the time s e eki ng out a better o f the P a st p a th for the Fu t ur e ap a
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FR AN C I S C O GO Y A
26
with t he most devotion a l piety— a nd were a s men by no m e a ns fa i thful b e li e v e rs Goya o n t he other h a nd a rr a ng e d his co n d u ct a s a m a n co n form a bly t o his surroundings a n d y e t h e us e d his v e ry position fecti v e ly th a n a s Court pa i n t e r to fi ght fa r more e f he c ould otherwise h a ve done for his re volution a ry id e a ls H OW e lse c an we a ccou n t for the portra its which he p a inted Of the S pan ish Roya l Fa m ily P H is existi n g works t e ll‘ us pl a inly th a t Goy a coul d do with his a r t wh a te v e r he wish e d " H e could be a s re fi ned a s a ris t ocr a tic as G a insborough — when he h a d it in view t o a tta i n this e ffect Therefore it is fa lse when the Ar t H a n dbooks rem a rk a bout him tha t i n the se portra its o f the Roy a l Fa mily he w a s u n a ble t o give the imp r e ss ion Of M aj e sty N O "Goya could hav e q u ite well giv e n this im — but h e woul d not ression A t h e a rt a Re v o l u p t i o na r y a n A n a rchist e ven whil e p a i n ting these Roy al portra its h e w a s writi n g t he most biti n g n m hl e ts o n the ivi e Right f Ki g D o s n p pa ,
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MA R QU E S A
D E LA S O L
ti
( P a in
ng
)
ANA
GO YA
AN D T H E
REV O L U T I O N
27
W e fe e l cl e a rly the di ffe rence when we look
b a ck to V e l a squez F o r alre a dy i n those d a ys o f Vel a sque z the Sp a nish Mo na rchy wa s a lmost a corpse it w a s his ta sk to record i n his a r t the l a st — r dea th twitches o f these Sp a nish H a psbu gs th e s e wan sickly cre a tures in whose expre ssion l e ss fa c e s the fea tures o f th e ir gre a t e r an cestors se e m i n deed t o surv i ve but parodied i n to the grim a ce Of gibb e r ing ph a ntoms Bu t Vel a sq uez w a s a lwa ys t he — fai t hful s e rvan t o f his Lords the a ristocra tic Court pa inte r o f his Most Catholic M aj e sty A nd so e ven in this decad e nt ra ce he had seen the rema i ns o f former gre a t n e ss His p a intings h a ve such a se n timent o f fe ud a l devotion a r e so perfum e d by the bre a th Of M ajesty that the i r o wn individua lity s eems merged i n to the very spirit o f the Monarchy its e lf Bu t Goy a s work is the s a t i re which s u cceed s this e pic poem From the v e ry sa me cl a ss o f people whom S a n che z Coe llo a n d V e l a squ e z pa i n te d in such pr ide Of ki n gly d ign ity h e ma de a pupp e t .
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FR A N CI S C O
28
G O YA
show of fo ols a n d cr i m i n a ls H imself a you n g pe a san t la d whose br a i n w as On fi r e with r e v o l u t i o n a r thoughts h e took th e ir t a lism a n of M aj e sty y fr om t h e poor Pri n ces who sa t t o him— a n d le t th e m a ppe a r in a ll the nak e dn es s o f th e i r c o mpl e te me n ta l i n a n ity be fore t he ey e s o f a l au ghing worl d Jus t co nsid e r this K i ng o f his— this Ch a rl e s I V of S pa i n " I s h e n o t j u st s uch a fi gure Of sere ne st upi dity a s W ilke would dra w to d a y fo r t he Si mp li ci ssi mus jo u r n a l " H e sits there a s t hm a t i c a n d fa t upo n h is fa t a st hma tic horse a n d with his fa t asthm a tic dog " How like a Moloc h h e — a n e vil god who ha s b a tte n ed upon t he a e a rs pp life blood Of h is p e ople 1 A nd t he n his Qu e e n " M a ri a Lo uisa w a s a courtes a n se a ted u pon the thro n e o f Sp a i n S he wo r e t he mos t outra g e o u s toilette s ; she d ispl a ye d like t he h a r lot tha t s he was her e n tici n g bosom , — n u e e h as if se ki g d e s pite he r arms ba re t o t e s ho ld r — d e a n a e Of he r u gli n e ss h e r fa lse h ir a f ls te th to s e x ua l fe eli n gs Loo k no w how Goy a a wa ke n .
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W dr td
J a
QU E E N
MA R I E L O U I S A ( P a i nti ng )
,
R oy
a
l Pa
3
FR AN C I S C O GO YA
0
pa ss ion s Of its Q uee n Th e n t he Cro w n P r i n ce " AS a m a licious m e dd l e r a hy pocritic a l Ta r t ufi h e c o mes b e fore us in t he colours Of history A nd it so th a t he i s p a i n t e d by Goy a — S it e ful a n d ust 15 p j ith w a restl e ss hypocritica l conce a lme nt in h i s sl y gla nce which ca lls t o o u r though t th a t sce ne in Schill e r s Robber s wh e re Fra nz Moor i n te rvie ws t he pri e st A grocer s fa mily w ho h a v e won t h e big lott e ry pri z e w a s Ga uti e r s v e rdic t w he n he first sa w this picture But these words say fa r to o little ; for no wo r ds co u ld e ver d e scr ibe a ll t he n a rrow stu pidity i n sol e n c e a nd low ma lic e which Goya has colle cte d i n to this o ne pi ctur e Loga h m h e r e b e en n o t i n fe licito u s i n his comp a r i so n with I bse n s pla y W hen t he D ea d d w a hen i n which the sc ulptor R o bek sp e a ks Of t h e m a sks which he h a s jus t co m pl e t e d a n d which thoug h th e y s e e m to r e pre s e n t me n a r e re a lly he a d s Of ho r s e s a nd don ke ys muz z l e s Of ox e n a nd sn outs o f swi n e I n Spa i n the mo st pu r ely Mo n a rchica l co un try Of E urop e Goya pa i n t e d po r tra its whi c h ar e a s a ti r e u o n a l l Mo n a rchy p .
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GO YA
AN D T H E
R E VO L U T I O N
3
1
T he
Sp a i n Of Cle r ic a lism fo u nd i n him a n o l e ss d a ngero u s a ntago n ist W e re mai n a stou n d e d b e fore the picture s with which he a dorn ed t h e Cupol a of To be sure we a ch u rch — th a t o f S a n A n to n io should not be surp r ise d a t th e m in I ta ly Cor re ggio i n the C u pol a Of P a rm a C a th e d r a l sa n g his p ae a n t o the b e a u ty of t he na ked h u m a n form a n d pa i n ted those a nge ls who ex hibit th e ir you n g bo d i e s t o o u r view in t h e most v e n turesome pos e s Y e t a l l th a t is but t he divi ne la ught e r o f t he Re n a issa n ce wh e r e the h e a th e n go ds Of O lym pus fou n d a n u n disp u ted pl a ce i n t he Christi a n H e a ve n But Goy a lived i n S pa i n ; a n d no p a i n te r i n t he Sp a n ish Churches ha d e v e r d a re d to re pre se nt t h e n u d e T he pa i n ti n g by D e V a rga s o f A d a m a n d E v e i n “ Limbo ga i n ed ill r e pute u n d e r the n a m e o f L a I n tha t cou n try a ll poi n te d to a ste r n, Ga mb a Purita n ica lly se r ious v e i n o f a r t gloomy mysticism is u n it e d i n he r a rtists wo r ks with a n a sc e tic con t e mpt O f t he body W e must k ee p th e s e fa cts i n V i e w— to g r a sp how .
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FR AN C I S C O GO Y A
2
u nh ea rd
Goy a s picture s i n S pa i n S i duo i dem fa ci a nt non est i dem a n d wh a t with a n I ta li a n w a s m e r e ly t he ge n e r a l t e n d e n c y of the R e n a issa n ce is h e r e t he i n te n tio n a l de pre ciatio n Of e ve r ythi n g th a t b e lo n gs t o the Chu r ch T h e H ea v e n s a r e — n d e b u t it is to d isclose n a ke d a n gels boys a n d o pe gi r ls u po n t he va u lt e d c e ili n gs d a n ci n g o r re sti n g toge ther o r posi n g i n t a blea ux i nst a nts— fi g u r e s a s full of piqua nt i n te n ti o n a s c a n be fou n d i n t h e most e rotic pa i n ti n gs o f Fra gon a rd N e a r we se e holy wom e n o n e le a n i n g o n a couch a n oth e r ex ten de d upon a pillow e d diva n— a nd a l l i n pose s of e cst a sy which se e m to a wa it the comi n g o f t he H e a v e n ly B r id e g r oom Mea n whil e in t he C u pol a itse lf an i n c r e dible sc e ne a w a its us Goy a ha d h e re to pa i n t the P a t r o n of t he Church S A ntho n y ; a n d h e ha s d e ci de d to p a i n t him e x t e n di n g his h a n d i n bles si n g ov e r t he c r i ppl e s But t he fa ct is w e sca r c e ly n otic e this sc e n e W h a t w e s e e is a b a l u st r a de a n d b e hi n d it a c h e q u e r e d th r o n g O f m e n a n d w ome n -
W e re
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GO YA
AN D T H E RE VO L U T I O N
33
crowdi n g a n d pushing together b e gg a rs mounteb a n ks O l d ba g s d a n d i e s co u rte sa ns Som e throw e ntici ng gl a n ces from behi n d th e ir fa n s i n to the sp a ce below Others follow e d by d a n dies ra ise th e ir Skirts like little modist es i n the Jour na l d musa nt Others e xt e n d th e ir l e gs o u t s ide t he ba lustra d e so th a t a most i n st ructive p e rsp e ctiv e a ppea rs to vi e w be n ea th the fr Ou fr ou O f crea m y l a c e frills a nd rosy silken petticoa ts M ean whil e oth e r la di e s ge nui ne portra its O f well known bea uties o f t he Court a r e d a nci n g a ballet I t is a n a rtistic ca n ca n ; it is Ca s a nov a tra nsfe rr e d to colour A ll th a t t h e Chu rch a d e e intings of st cr ted is d spis d for t h e h a a a e p p sa ken a n d this s a tire upon the Church a nd a l l its works w a s w r itt e n i n the l a n d of "u rb a ra n of Murillo l
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E di t or
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Not e — W i thout ha v i ng
f
ar
t hi s
coor
h I
t hi nh i t
n t a n Ti e ol o h e i her e the pr esence o U e e t f p a t the Spa ni sh C our t ; a nd tha t the w hol e descr ipti on
Goy a
coa r ser
‘
t o note
i s s tr ong ly s ugg es t i v e a
seen
hey
f o
fl
the l a tter s i n uence, t r a ns l a t ed i nto ’
C H A P TE R I V G OYA AS E N G RAVE R
H A T he had not yet expressed in h i s p a i n tings he tells us a s engraver : th a t is wh a t always h a ppens when a n a rtist who h as origi n a l po wers Of thought ta kes hold Of t h e etchi n g needl e The slow touch o f t he brush does n o t suffi ce them they nee d a m e di u m which will write down their impressio n s more quickly a nd more d irectly An d thus it wa s th a t a t this time Goya discovere d the powers o f a tta ck co n cealed i n this a r t o f e n gra vi n g E ve n i f at fi rst h e ha d only use d t he etching n eedle t o complete those C opies from Velas que z n o w it turn ed i n h i s h a nd into the poiso n ed .
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FR AN C IS C O GO YA
6 3
considered this purpose achieved if his works could bring a fa llen girl t o a bette r life o r turn a d e votee o f the whisky bottl e into a t e mp e ran ce Ora to r ,
“
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P r a ct i ce
r ect i t ude a nd
Do
honesty
not
hi ll
D o not bet r a y —
such a r e the con tents O f his works An d Goya too pe n s a pasquinade upo n the soci a l political a nd ec clesi a stica l conditions o f his age He t oo fights a ga inst d a n dyism a n d wantonness agai n st servile courtiers a nd venal functi onari es a gainst the hypocrisy Of the priesthood and the stupidity of t he people But bo th a s artist a nd a s thin k er how fa r he Stands ab ove G reu z e a nd H oga rth Their p ic ture s a r e ser mon s o n morality They h old a brief to prove ho w excellent it is when marri e d couples dwell together i n sweet pe a ce when men r e pent them Of their sins , and honour the i r fathers a n d mothers A nd we a r e gra teful t o them for this wise advice but al l the while it i s in o ur mind th a t the sa me thing ha s been well expressed in the Te n C omm a ndments .
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GO YA A S EN GR A V E R
37
Goya s pl a tes are i n breathed with a di fferent spirit H e does not want t o con fi ne mankind NO W ithin the cage o f a n arrow minded m o rali t y —he points their w a y t o Fr ee dom I t is a fore runner O f N ie t z c he w ho is speaking t o us, w ho with strong, da r ing hand sh a kes the foundations Of a ll existing for mul a The h alo Of Kingship—be c o m es the People s u ndoi n g ; the learning o f the — Church I ntend ed t o blind the People s ey es They are a stounding these pla tes in which he draws devout wome n a nd pious Ta r tufi s w ho with rolling eyes o f hypocrisy worship a scarecrow o r priests who d raw "o ut their wonted Litany wit h dull, impassive indi fference A nd the most fantastically stran g e Of all these plates is certainly t he o n e in which a c orpse is rising from his grave a nd with his dead fi nger writes the word N a da N o thingness I n Ger m a n y a t that time Kant ha d attacked the A lmighty , had declared that G o d had no t created mankind nay that H imself wa s only a creati on , an id e a o f ’
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FR AN C I S C O ma n
A nd
GO Y A
the sa m e tim e i n Spa in, t h e most Church rid den country o f the w o rld t he doctrine “ Of i mmorta lity wa s sh a ken There is no such thing cries Goy a a ; this immorta lity pf which t he priests spe a k to us ; no s u ch thi n g a s those he a venly j oys o n which w e s e t o u r hopes which bowed us to the e a rth which helped us to be a r without a murmur want a n d misery while thes e kings a nd priests were growi n g fa t a t o ur e x pense A ctua lly Goya had the a ud a city to dedica te this work to Ch a rles I V — a subtle jest o n the stupidity o f the Ki n g w ho w a s n o t eve n i n a position t o gra sp t he m e a ni n g o r these pl a tes Y e t it is si n gul a r th a t t h l S art i st i n spite o f his revol u tion a ry tenden cies nev e r crea tes a prosa ica lly d id a ctic a r t H e ca lls his dra wings Flig hts of F a ncy a n d in fa ct it is n o dry did a ctic theory but the most wonderful im a gina tive power which could ins pire th e s e pl a tes E ven a ny o n e who does n o t gr a sp their inner sigu i fi c a n ce must feel with wh a t m a rv e llous pow e r t h e most monstrous is here presented i n an a rtistic a spect .
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C H A P TE R V G O YA AND TH E H ESE
WAR
wo r ks O f Goya which b e lo n g to the r ei gn Of Ch a r l e s I V An d n o w the r e follow those y e a rs duri n g which N a pol e on h e l d Sp a i n within his gra sp Goya like a l l the intell e ctu a l p a r t of his n a tio n h a d welcomed t he E mperor H e it w a s who ha d t he E m peror s commissio n to select for t he M usi c N apol eon those S pa nish pictu r e s a p a rt Of which still h a n g i n t he Louvre B u t a s a n a rtist h e n o w c om e s to see the n d cont r a O f t he ch a n g e h e philoso h e r r o a it is t p p who n ow spe a ks to us For a n o t t he politici a n fe a r ful tra g e dy m u st the n h a ve b e e n ta ki n g pl a ce w h e n a t that mome n t i n Spain the Volunteers took a r e t he
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AN D T H E W AR
GO YA
1 4
up arms aga i nst N a poleon s soldiery Goy a tells us its story in his pa intings W e see the gle a m Of the gun barrels, a n d poor wretches who have bee n condemned by court m a rtial falli n g forward prone before the musket fi r e o f the troops W e se e mothers in the m a d fury o f desp a ir tryi n g to shield their Children from the savage soldiery : we s ee dying men i n the hospit a ls raisi n g themselves a mo n g those a lre a dy dead and vultures o n t h e battlefields feeding on the corpses o f the fallen I n the D esa s t r es de la Guer r a which appeared in 1 81 0 all this becomes conde n sed into a great “ poem whose true sign i fi can ce E pos a n epic in a r t c a n be Only fully g r asped wh e n W e pl a ce it besid e the work o f other a rtists F o r n e a rly a l l those who before Goy a had be e n occupied with this subject Of w a r ha dlt a k e n i t o n the side o f its br a our a In i t s imposi n g spl e n dour in the wor ld s history th e ir pa i n ti n gs we see heroic a ttitud e s venturesom e darin g a n d heroism in de a th W i t h God for Ki ng a nd Fa t her l a nd is the motto o f most o f the se ’
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FR AN C I S C O GO YA
42
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works Th a t oth e r a spect o f wa r wh ich m a ke s s o n d an impression upon u s i n T o lstoi s W a r rofou p a nd P ea ce a ppe a rs very r a r ely i n the story Of a r t Rubens m a y i n de ed be cite d a s a n insta nce I n his allegorica l p i cture O f the Pitti G a ll er y h e p a inted the horrors of w a r ; a nd in a letter h e m a d e cle a r his i n te ntions o n this subj e ct : Tha t mour nfu l .
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w oma n
r obed
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i n bl a ch i s my ow n poor
bei ng w a st ed by t he Fu r i es
ar W f
count r
hi w c h i s y,
"
Ca llot too m a y come to our m e mory whose e n gra vi n gs pre served those sce n e s of horror Of t h e Th irty Y e a rs W a r But it is n o t very cl ea r wh a t C a llot himself a im e d D i d it r e a lly give him pl e a su re a t i n thes e works to see th e se sce nes of butch e ry " I s i t a sort o f grisly h u mour which i n duce s him to combine the burlesque with t he ter r i bl e ; o r is it m e rely the of t he B a rocco perio d th a t w e fi n d h e r e a rtist who delights i n wil d p a ssion s a n d fra ntic sc e n e s " I n a word we re m a i n u n m ov e d before Ca llot s works for we se em to see n o l IVI n g m a n b e hind th e m W e fe el n othi n g o r ra ther w e h a v e o
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D OS LA
P E RD ON E
( E n g r a mng fr om the C a pr zc zos )
GO YA
AN D T H E
W AR
43
the fe e ling th a t the a rtist has himself felt nothi n g But how di fferent wi t h Goy a H e w a s the first t o make a delibera te a conscious im pe a c h ment Of Milit a rism H e w a s the first who n o t o n ly did not glorify t he dulce et decor um est pr o pa t r i a mor i who n o longer showed forth t h e coura ge o f t he d yi n g h e ro the p r ide o r co n queri n g a r mi e s — but more th a n this who s how s a ll the blood a n d mise r y with which this wre a th Of Glory h a d be e n bought all the Furies o f W a r H u nge r a n d D is e a se who tre a d i n its tra in ov e r the blood sta i n e d soil Thro ugh a l l his pl a t e s there seems to e cho th a t s a d To wha t E nd question P riso n e r s a r e b e ing tortured a n d dese rt e rs riddled wi th bull e ts F a c e s a r e distorted i n the de a th a gony a n d a r ms u r a l s e d p i n ra gi n g m a dness A ll the a n im a l i nstincts Of the b t e huma i ne a r e unch a i n ed T h e m e ssa ge th a t w a s t o be giv e n l a ter by W i e r t z a n d V e r e st c ha g i n w a s first spok e n by Goy a i n fa r fi e r c e r a cc e nts .
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CH A P TE R V I G O YA I N TH E REACTI ON
F TE R the period o f W ar follo w s the period o f D isillusionment K i n g Fe r dinan d h a d returned to M a drid in 1 8 1 4 ; and it wa s all over the n ceforward with Li bera lism and Free All those friends of obscurity do m o f Thought those powers Of d a rk n ess who ha d been for a mom e n t sc a red aw a y settled themselves anew upon the lan d W h a t w a s Goya s positio n there now M a r i o la Ver da o is t he titl e o f on e plate in the D esa str es in w hich a naked woman Truth is s uffe ring martyrdom a t the hands o f priests A lthough Ferdin a n d ha d confirmed his appoint me n t a s Court p a i n ter and let himself in t he .
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FR AN C I S C O GO YA
46
Pure ly a rtisti c consid e ra tio n s induced him however in 1 8 1 5 t o e n grave the Ta ur oma chi e There is ind e ed som e thi n g S i n gul a r in a bull fi g ht I f we a r e in a positio n t o e nj oy the spectacle purely from i t s mst he t i c st a n d poi n t we m siy Obse rve e ffects o f moveme n t a n d colour o f i n describa ble be a uty First Of a ll the bull himself is a marvel l o usly bea utiful a n im a l full Of pl a stic be a uty i n his gra n dly d e corati ve swe e pi n g lines of form H e is m a rv e llous wh en he steps with dign ity i n to the a ren a looks round him toss e s his h e a d a n d b e gins the fight ; n o less m a rv e llo us wh e n h e lowers his he a d a nd rushes to the ch a rge I t is stirri n g to n otice wh a t a n e l e m e n t O f v a ri e ty the ch a r a ct e r O f into e a ch sep a ra te t he bull himself introduces fight An d t he mov e m e nts Of t h e m e n a r e just a s N otice the e l e g a n ce a rtistic a s thos e of the bull with which t h e B a nda r i ller os throw the mantle the coquettish gra ce with which th e y S pri n g o u t o f the way, the kn ightly mov e ment Of the P i ca dor es a s they l e a p down from horseba ck the ca lm security
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TAL
PA R A
CU A L
( E ngr a vi ng fr om the C a pr t czos )
GO YA
I N T HE
R E AC T I O N
47
which the E spa da draws his sword Goya had a professio n a l knowledge o f a l l these deta ils A s a Tor er o he h a d himself i n his a dve n turou s youth e a rned h is expen ses for his journey t o I ta ly A nd thus i n t he Ta ur oma chi e he ha s giv e n u s a whole compendium of the a r t Of bull fi g h t i n g ha s ca ught mome n ts Of as gre at a ch a rm Of moveme n t as ever Ma n et o r C u n o i s B esn ard o r Lucien Simon h a ve ever grasped a nd held fa st for u s B esides this we have t o mention the pictures with which b e d e corated his country house Pre serv e d a t l e a st in p a rt they n o w h a ng withi n the M useo del P r a do A nd it is frightful t o note how th e y se e m to clutch a t o n e by t h e throa t wh a t a s e ns e o f unea sy terror they seem t o exh a le I n h is C ap r i cci os a lre a dy Goy a ha d dr a w n witch e s a n d n n a h tom forms in a m a ner th a t is a sto n ishi n g ; p a n d i n the P r oo er bi os a s a n O l d m a n he cam e b a ck to t he sa m e th e m e B ut wh a t i n thes e etchi n gs he had tre a te d in a sma ll compass a n d in t h e m a n ner of a g enr e a rtist here in h is pa I n t I n g s b e com e s w ith
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FR AN C I S C O GO YA
s 4
xpa n ded into mo nument al forms Spect r es a r e here hoveri n g a roun d whil e g iga ntic birds o f monstrous form fly through the a i r croa ki n g a n d fla pping th e i r wings The dead eyes o f blood st a i n e d Medusa hea ds are fi x ed upo n us with a sto n y gl a re T o recou n t a l l thes e p a intings i n n umerica l de ta il is im possibl e There lies a gi a n t u pon t he summi t o f a mou n ta i n broodi n g mischi e f a s h e l ooks down u po n a sleeping city There a m a n is str i v m with tr e me n dous e f f ort climb up t a rock o g fr om which a fi e n d with ba t s wings push e s him ba ck — how li k e to Goy a himself who h a d fought a n d struggl e d a s a iml e ssly a s T a nt a l u s There a ga in we s e e a n Ol d m a n le a ning u po n his st a ff a n d liste n i ng t o the whisper e d suggestions Of a demon o r e lse w h ere b e n e a th a cli ff a dog looks e a g e r ly u p a ft e r t he bir ds Pilgrims d ra w n e a r from wh o s e eyes hypocrisy a n d wickedn e ss look o u t Sp irits i n garme n ts o f cloud a r e da ncing in the moonshi ne M a dm e n a r e brooding in gloomy stupidity
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L I N D A M A E S TR A ( E ng r a v i ng fr om the Ca pjzozos )
FR A N C I S C O GO YA
so
very spirit o f Loda looki ng down o n us in fe a rsome " wise The cloudy myste ry Of O ssi a n the gloomy horrors Of t he W a l purgis N ight a r e S pr e a d over thes e works o f Goy a Som e of th e m e i e n seem to bring b a ck re coll e c tio n s O f E Th A H o ffm a n a n d Of E dg a r P o e T he mode r n sou l w ith a ll its fore bodings i s a wa ke n e d i n Goya a n d cloth e s itse lf in such forms of monstro u s gra n d e ur th a t we m i ght ca ll him like the E nglish Fu se l i a Mich e la nge lo gone m a d For n i ne long years Goya rem a i n e d i n th e se gloomy surroundi n gs a lo n e with t he frigh t ful crea tio ns of his fa n cy Th e n h e s e e ms to h a v e felt himself n o lo n ge r v e ry secure in Sp a in H e b e gge d i n 1 8 2 4 fo r six w e e ks Of lea ve to visit t he s u lph u r s prings Of Pl om bié r e s i n Lorra i n e o n a ccount Of his gout W a s th a t only a pretext to g e t out Of Sp a in O r did h e fi n d t he lon g journ ey t oo much for his stre n gt h " F o r Goya n ever re a ch e d He spe n t the l a st ye a r s o f his life in Plo m bi é r es .
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GO YA
I N TH E
R EA C T I O N
5
1
Borde a ux where the mil d clim a t e a ttra cted him a n d where he met other Sp a nish emigr a nts frie n ds He o f his who h a d been driv e n from their homes was now n o t o n ly de a f but a lso h a lf bli n d a n d his cre a tive work i n Fra nce w a s therefore ne cess a r ily sm a ll Y e t o n e engra vi n g a t le a st rem a i n s to show us th a t the Old p e ssimis t ha d not lost a l l fa ith in the future L ux ex t enebr i s is here the i n scription a n d a stre a m of light i s seen fa lli n g upon a bl a ck spot o f e a rth a n d sc a ring a w a y from it owls ravens O n A pril 1 6 1 8 2 8 a stroke o f a n d p r i e sts a pople x y sei z ed him a t d a wn I t w a s the ve r y time whe n the French Romanti cists were issui n g their fi rst m a nifestoes ,
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C H A P TE R V I I C ON CLU S I ON
E RE
th e n w e m a y p a use to co n sid e r in wh a t co n sists this quite u n iq ue si gn i fi ca n ce o f Goya i n the h istory Of a r t W hen we revi e w th a t m ig h ty e po c h which ha s been c a ll e d the period o f e nlightenment and in which two movements Of culture be ca me divided w e soon fi nd ourselves i n the dep a rtm e nt Of a r t history to touch upon compa ra tiv e ly b a rren soil I t wa s the great writers w ho led t he fra y This epoch was confronted by so m a ny gra ve problems that every on e w ho ha d somethi n g to express pr e ferred instead o f the brush t o take th e pe n in his h a n d Thus in art , at least it was no period Of .
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C O NC L USIO N S t ur m
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una
D r a ng
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A nd l a t e r wh e n the b a ttle ,
ha d
bee n fo u ght out when a ga i n t he a rtists ca me upo n t h e sc e n e it seem e d a s if th e y co u ld s e e their w a y to n othing o f i n t e rest withi n their o w n time a s i f th e y believed th e y could only cre a te art by le a ni n g u p o n t he a r t cre a tions o f p a st a ges I nste a d Of looking forward they looked behi n d into the Old cultures o f Greece a n d Rome K a rsten s imita te d Greek v a se p a i n ti n g ; D a v id illustra ted t he h e roic deeds Of the Revolution by ex a mples from Rom a n history The very century s close w hich ha d be e n a bl e to su ffe r, to struggl e t o — a onis e n te to b e get w id e a s is by no me n s e a g m a rka ble in a r t Goy a a lo n e seems t o belo ng to th a t Prom e thea n rac e which in Clu de d t he you n g G o e t he a n d the you n g Schiller H e is t he o n ly artist w ho c a n be sa id to e n t e r tha t group O f t he gre a t revolutiona ries through whose wr i t i n gs the o l d wo r ld wa s tor n from its fou nd a tions W ith t he fierce crash o f the thund e r a nd t he ea rthqua ke the Time Spirit ,
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F RAN C I S C O GO YA
54
dva nces through his works a n d those Sphi nx questio n s which the epoch set itself to answ e r a r e mirrored a s giga nti c problems in h i s p a inti n gs A nd later when a l l E urope pra yed t o the gods Of Greece , he remai n ed alo n e u n m oved by the S pirit Of Classicism Fo r Cl a ssicism w as a new eve n i f it was a fa r w e a ker R e na issa nce E ven in the si x tee n th ce n tury S pa i n w a s the on ly country which had close d its doors to t he R e n a issa nce Moral e s a nd i l Greco Rib a lt a a n d R o é la s a r e s e p a ra ted by a chasm a s deep as t he world itself from the I t a li a n id e a lists For th e y did n o t co n ce rn themse lv e s with bea uty o f form o r with purity o f style H a d th e y to tre a t t he Ador a t i on of t he S hep her ds o r a ny other r e ligious subj e ct with th e m s un t a n n e d figure s from t h e peopl e must stand for t h e ch a ra cters o f B ibl e history Goy a i n d e ed ha s n othi n g i n his spirit th a t I s i n commo n with th e se men For he l a ugh e d a t Religion a n d l a ughed a t the Monarchy while the o l d pa inters were fa ithful to both thron e a n d a lt a r a
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CO NCLUS I ON
55
But wh a t h e does possess in common with them is his bold Na tura lism T ho se doctri n es Of be a uty Of form a n d o f classic purity of style which at the con clusion Of the eightee n th c e ntury wer e prea ched aga in— i n Spa in — e a mor p rtic ul a rly by Mengs d isturbed him just a s little as his predecessors They sh a re d a like i n the vi e w th a t Re a lity is the most wholesome fa r e on which a r t can be n ourished An d i n a smuch a s he h a d a fr e er h a nd th a n the Older a rtists — who could only so fa r i n troduce Re a lity into th e i r Church a e n s a inti gs it would it its lf to the s cred subj ct a u e s p — so he it wa s who grasped tog e th e r into his h a n ds a l l thos e thre a ds o f the older Sp a nish a r t W h a tever Na tu r a listic e lements l a y co n c e a led in t h e Church p a i n tings Of Greco a n d Ribe r a of Vel asquez a nd M urillo with him a r e fre e d fr om their ecclesi a stical frame, a n d flow forth in un c o n fi ned a bund a n c e For Goy a is the first chronicler Of the Old Span ish life A ll th a t world o f the Tor er os and .
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FR AN CIS C O GO YA
6 5
M aja s
Of monks a n d Cont r a ba ndista s and Tr uha nes a n d W i tches which the Older painters had been unabl e to appro a ch ga ins through him its definite plac e a nd rights o f citi z enship i n the Republic Of A rt This very fa ct th a t no foreign i de a ls led him a stray ga ve t o his works o n their purely artistic side th a t fresh blood , which only those works possess which come t o us from immediate conta ct with li fe itse lf which are not genera ted by A cademica l rela tions with a ncient W e ca nnot indeed conce a l from works o f a r t ourselves the fact th a t G oya is ofte n a s a painter A m a n w ho had so e ntirely devoid o f culture much that h e wanted to express could only at rare interva ls possess the c a lm outlook o f the a rtist Ma ny Of his pictures se e m confused a n d bar ba rous almost un a ttra ctive so roughly are they d aubed in I n othe rs we seem to notice tha t t hey a r e commissions which he discharged in a purely busi ness spirit without any perso nal pleasure in t he ta sk ,
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C O NC L U SI O N
B ut when he
57
himse lf inside his subj ect where it wa s somethin g that a ppeal e d t o him a rtistically , then h e becomes a bsolutely a stounding NO o ne else ha s known l ike him how t o ca tch a nd imprison the vibrating pulse o f Li fe H e a ims at rendering the most momenta ry the most fleeting subj ects He pa ints in so me picture Of a ye a rly fa ir the billows o f Hum a nity ; he p a ints girls d a ncing with casta n e ts bull fi g h t s sc u fHe s and street scenes A nd how full o f suggestion is his work " Ho w wonderfully he has contrived fo r himself in these fl e e ting subj e cts which he wis hed t o present a record as i n st a nt a neous a s the t e legraph , a record in whi ch every touch of the brush possesses the stir o f li fe H e paints a street scene ; and the figures I n i t are only pu t in as spots B ut these spots h a ve life, — this crow d i s S pe a kin g to us H e p a i n ts Spanish girls d a nci n g with the castanets : but every n er v r N either B oldini o f these dancers is in move m ent nor Sarg ent ha s c a ught these lightning q uick was
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FR AN C I S C O GO YA
58
move ments with so immediate a n insight and e n e r gy He pa ints a yea rly m a rket a nd a ctua lly we a lmost seem t o hear the crowd ch a tteri n g a n d l a ughi n g a s it pushe s it s w a y betwee n the booths He pa ints a bull fi g h t a n d n o t o n ly a r e t he move me n ts o f the comb a t a nts re n de red with a bsolute a n d u n e qu a ll e d cert a inty but e v e n i n the se a ts of the specta tors a l l bre a thes o f life Th e se thousands Of m e n who pr e ss i n front o ne of the other a n d follo w t he course o f t h e fi ght with i n te n t eye s h a ve become I n his a r t a m a n y h e a ded being which possesse s a t th a t moment o n e soul o ne single pulse F o r Goy a a lwa ys co n trives t o sei z e with a fe w cl e an S h a rp stroke s the most striki n g impression o f life He only n e e ds to t a k e the pe n cil i n to his h an d a nd th e r e comes be fore o u r eyes proce ssio n s the rose strewn grou nd M aj a s a dva n ci ng ov e r smili n g coquettishly comba t a n ts l a yi n g fi n ge rs o n the k n ife you ng coupl e s whirli n g i n a wild dan c e o r the lances o f the bul lfi g ht e r s dripping red o n the .
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C O N C L US I O N
59
s a n d O f the a re n a A t t he sa me time this m a sterly crea tive powe r is u n ited with t he most de lic a te t a st e for the nua nces O f colour W hile he is Oft e n a p lei n a i r p a i n t e r of a sto n ishi n g truth wh e n h e lets his figures mov e i n the full vibra ti n g sun shi n e i n these l ast wo r ks of his which a r e e ntirely k e pt withi n a tra ns pa rent d a rk gre y to n e h e to u ches the n ote of E u é n e C a r r i é r é s a r t e t a gai n i n n d A g y oth e r wo r ks h e sets t he pure unb r oke n colours boldly o n e aga i n st a n other j ust like t he l a ter P oi nt ell i s t es N e ver does he give u s a n outlined contour : with him the Outlin e d isa ppe a rs left e n tir e ly i n determin a te a n d b a thed i n light a nd in t he w a y in which h e sel e cts and giv e s u s o n ly the livi n g poi n ts o f his subj ect he bri n gs back o u r tho ughts to the work o f D eg a s I t i s just here too th a t he con n ects himself most stro n gly with us moderns I t was i n Fr a n ce th a t more th a n eighty years a fter his d e a th he foun d his first a dm i r ers F o r the ge n eratio n which h a d k n own Byro n , t he E urope of 1 8 3 0 pri z ed in h im .
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FR AN C I S C O GO YA
6O
much t he artist a s the wild B ohemian p a rt a rtist and p a rt bri g a nd The school o f historica l pa inting which followed , which expressed t hm t r i c a l emotions in A cad e mic gestures coul d eve n less fi nd n nectio n with the a r t of Goy a e co The whol an y ae sthetic movement o f the time w a s e n tir e ly hosti le to his a r t P a ss a vant was the first critic who ca me t o kn ow the M a ster in his o w n country a n d in 1 8 5 3 he wrote th us of h i m Fra n ci sc o Goya gives u s a striking proof of the low co n dition o f Spanish taste in a r t a t the end Of t he l a st and the begi n n i n g o f the pre se n t c e ntury O nly a fter the t u rn of the sixties did the a g e agai n t a ke G oy a into i ts fa vo ur Th a t prophetic rem a rk by O tto Run ges w a s then ful fi lled Light a n d atmosphere a n d the movement of life a r e to be the grea t probl e m a nd the gre at a chiev ement o r modern art I t bec a me the e ffort o f a rtists to s ee in life itse lf the movements and the nua nces o r expression which a former a g e ha d st u died I n Old pictures I t became their e ffort t o put in t he place no t
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C AT A L O GU E O F
GO YA S W OR KS ’
P R I N C I PA L
Tbe H oly Fa mi ly P ai nt ing Ma dr i d : P r ado Ki ng P ai l ip I V H unt i ng i n t be P r a do P a i nt i ng .
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Tda D ummy F igur e D i or la P er done
W OR KS
P R I N C I PA L
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N a t i o n al G alle r y
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P r i n t e d b y B A L L A NTYN E 67° C o
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L I M I T E D , L o n d on
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S O ME TH E T1ME S
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