Painters From Spain

"Las heridas quemaban como soles a las cinco de la tarde, y el gentío rompía las ventanas a las cinco de la tarde. A las cinco de la tarde. ¡Ay qué terribles cinco de la tarde! ¡Eran las cinco en todos los relojes! ¡Eran las cinco en sombra de la tarde!"

"The day that hunger is eradicated from the earth there will be the greatest spiritual explosion the world has ever known. Humanity cannot imagine the joy that will burst into the world on the day of that great revolution."

"Caballito negro. ¿Dónde llevas tu jinete muerto?"

"¡Que no quiero verla!Dile a la luna que venga, que no quiero ver la sangre de Ignacio sobre la arena.¡Que no quiero verla!"

"it takes quite a talent for a playwright to internalize and remain distant at the same time. I think that is why all the great playwrights like Shakespeare, García Lorca, and several others have been poets as well."

"Goya was closely studying the Velazquez's portraits [in the Spanish royal palace ], and he decided to etch them. In 1778 he completed eleven large etching plates. During the same year he delivered fourteen of the tapestry cartoons for the royal tapestry factory in Madrid, so that his energy must have been terrific. They show no sign of haste, and must have been undertaken as a pleasure. Goya may have received some vague promise of state support. The multiplication of these masterpieces was a patriotic duty, and Godoy did well to buy the plates. But this purchase did not take place until 1793, so that Goya's labour must have had little financial result in 1778."

"As a painter Goya's reputation was slow in crossing the Pyrenees, and then was chiefly based upon the testimony of the few strangers who had visited Madrid. But when the volumes of 'Los Caprichos' reached Paris, the unchallenged center of European art, these extraordinary works attracted unstinting appreciation, and awoke general curiosity with respect to the personality of the almost unknown Spaniard. Officers attached to the English army quartered in the Peninsula sent copies of 'Los Caprichos' home to London. Later still the book penetrated into Germany. These etchings thus formed the foundation of Goya's cosmopolitan celebrity. 'Los Caprichos' consists of seventy-two plates, which are usually dated 1796-1797."

"'One to the other / Unos á otros' - Thus goes the world. We mock at and deceive each other. He who, yesterday, was the ball, is to-day the horseman in the ring. Fortune directs the feast, and distributes the parts according to the inconstancy of its caprice."

"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."

"Goya, ever ready for an artistic experiment, tried his hand at the comparatively new invention of aquatint. Several of the plates of are in pure aquatint (No. 32 is a fine example and how cleverly he succeeded is proved in 'A rough night' [= 'A Bad Night' [https://en.wikipedia.org/w/index.php?search=A+bad+Night+Goya&title=Special:Search&profile=default&fulltext=1&searchToken=dmndd6r6hf4vh49tura06ygnr ]. A recent historian of this method writes: "Goya raised the combination of etching with aquatint to a position of surpassing merit.. .He will always remain the master of mixed aquatint engraving, and his work should be carefully studied by all interested in the legitimate scope of aquatint engraving."

"A bride-to-be, Discreet and penitent, she presents herself to her parents in this guise."

"Eugene Delacroix copied over fifty of the plates in 'Los Caprichos', with a care and patience, says Charles Yriarte, of which few would consider him capable. The etchings appealed to many of the artists of the French Romantic movement, and some, like Louis Boulanger, borrowed freely from them. Daumier was strongly influenced by their power. Our own banker-poet, Samuel Rogers, added the set to his library. Theophile Gautier was no mediocre critic, and several of the most brilliant pages in his 'Tro los Montes' endeavor to describe the fantastic invention lavished on the plates of 'Los Caprichos', in his 'Voyage en Espagne' [= Tro los Montes]. Paris, 1845. pp. 129-134."

"[how Goya's mind] grovelled in a hideous Inferno of its own a disgusting region, horrible without sublimity, shapeless as chaos, foul in colour and 'forlorn of light,' peopled by the vilest abortions that ever came from the brain of a sinner. He surrounded himself, I say, with these abominations, finding in them I know not what devilish satisfaction, and rejoicing, in a manner altogether incomprehensible to us, in the audacity of an art in perfect keeping with its revolting subjects. It is the sober truth to say that, in the whole series of these decorations for his house, Goya appears to have aimed at ugliness as Raphael aimed at beauty.. .Enough has been said to show that Goya had made himself a den of foulness and abomination, and dwelt therein, with satisfaction to his mind, like a hyena amidst carcasses."

"Of all the men he had known in Italy till c. 1771, Goya spoke in his old age chiefly of the [French] painter David. For a short while they were in close intimacy."

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

"With Goya we do not think of the studio or even of the artist at work. We think only of the event. Does this imply that 'The Third of May' is a kind of superior journalism, the record of an incident in which depth of focus is sacrificed to an immediate effect? I am ashamed to say that I once thought so; but the longer I look at this extraordinary picture and at Goya's other works, the more clearly I recognize that I was mistaken."

"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."

"He [Goya] has selected from amongst the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance or self-interest have made usual.."

"El sueño de la razón produce monstruos."

"But where Goya shows the most exquisite sensibility and profound psychology is in these two portraits of one person, in which he incorporates the whole story of a dreamer swayed in life and death by the highest ideals, a woman of a race of poets and artists, Dona Antonia de Zarate. Though in the first portrait he represented her smiling and in perfect health, in the second [painted in 1810-11 by Goya] he knew her existence was undermined by a treacherous disease which was to cause her death. Never have we felt more deeply the impression of pathos than before this presentment of a soul rather than a person, before this face enveloped in transparent veils, with life showing in the eyes, and in that life a melancholy realization of approaching death."

"if you are an angel go and flatter a person named Moreau, picture dealer, Rue Lafitte, Hotel Lafitte.. ..and try to obtain from this man permission to take a photograph of the [painting] 'Duchess of Alba' (absolutely Goya and absolutely authentic). The replicas (life-size) are in Spain, where Gautier has seen them. In one frame the Duchess is represented in national costume, in the other she is nude, in the same position, on her back. The triviality of the pose adds to the charm of the pictures. If I ever used your slang I might say that the Duchess is a bizarre woman with a wicked look.. .If you were a very wealthy angel I would advise you to buy these pictures, for the occasion will not repeat itself. Imagine a Bonington, or a gallant and ferocious Deveria. The man who owns them is asking 2,400 francs.. .He admitted to me that he bought them from Goya's son [Xavier Goya], who had become extraordinarily embarrassed."

"The first edition [of Los Capricos ] is usually said to have been issued in 1797, but this is an error based upon the discovery of a sketch for the title-page dated in that year. Isolated proofs were to be seen in 1796, but the whole work was not ready until 1798 or 1799. Goya was slowly printing the two hundred copies in an attic workroom he had specially engaged for the purpose at the corner of the Calle de San Bernardino, but for some while the job was completely set aside. He drew up a draft prospectus which was never published.. .This draft belonged to Valentin Carderera."

"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."

"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."

"Queen Maria Luisa's attention to the deaf artist [Goya] was equally gracious, and far more delicate in its flattery. She gave [c. 1800] Goya a little painting by Velazquez, the only picture by another artist that we definitely know he possessed."

"[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)."

"M. Manet has never seen any Goya's, M. Manet has never seen any El Greco's.. ..that may seem unbelievable to you, but it's the truth. I myself have been filled with wonder and stupefaction at these mysterious coincidences.. .He's heard so much about his 'pastiches' of Goya, that he is now trying to see some of Goya's paintings.. .Every time you try to pay Manet a service, I'll be grateful.. ..quote my letter or at least several lines of it. What I'm telling you is the naked truth."

"Since most of the subjects depicted in this work are not real, it is not unreasonable to hope that connoisseurs will readily overlook their defects."

"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."

"..never was there a less harmonious genius, never a Spanish artist more local [than Goya]."

"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.."

"Mengs [the official royal painter of the Spanish court] gave Goya official help and encouragement. Tiepolo [famous mural painter then] however, directly influenced his [Goya's] art. It was an odd juxtaposition.. ..at the end of the eighteenth century, two artists more unlike one another fostering the career of a third [young Goya].. ..What Goya recognized in Tiepolo was his abundant appetite for fantasy and caprice."

"It is the work of a colourist of temperament who sees the tones of nature in all their richness, and who knows how to paint them in their true affinity. Never has a French artist placed in such harmonious relation the three national colours. Goya has thrown the hat with the tricoloured plumes on to a yellow table, against the tricoloured scarf of a person seated on a yellow chair, and clothed entirely in blue. These dissonances mingle in a brilliant concerto which sounds softly to the ear. We forget to notice that the head takes the aspect of a piece of red stained glass by reason of over-reflection. The colours live as if shown through transparent water, or touched by the capricious play of light."

"The sleep of reason produces monsters."

"What a scandal to hear nature deprecated in comparison to Greek statues by one who knows neither one nor the other without acknowledging that the smallest part of Nature confounds and amazes those who know most. What statue or cast of it might there be that is not copied from divine nature?"

"During morning visits to his friends, he (Goya) would take the sandbox from the inkstand, and strewing the contents on the table, amuse them with caricatures traced in an instant by his ready finger. The great subject, repeated with ever new variations in these sand studies, was Godoy, to whom he cherished an especial antipathy, and whose face he was never weary of depicting with every ludicrous exaggeration of its peculiarities that quick wit and ill-will could supply."

"At the moment I am trying to instill in Goya the requisite decorum, humility and devotion, together with a suitable respectable subject, simple yet appropriate composition and proper religious ideas.. ..the tender postures and virtuous expressions of the saints must move people to worship them and pray to them.. ..You know Goya, and [you] will realize the efforts I have had to make, to instill ideas into him which are so obviously against his grain. I gave him written instructions on how to paint the picture, and made him prepare three or four preliminary sketches. Now at least he is roughing out the full-size painting itself [309 x 177 cm], and I trust it will turn out as I want."

"[Goya arrived] deaf, old, awkward and weak, and without knowing a word of French, [but] he was anxious and happy to see the world."

"I had established an enviable scheme of life. I refused to dance attendance in the ante-chambers of the great. If anyone wanted something from me he had to ask. I was much run after, but if the person was not of rank, or a friend, I worked [painted] for nobody."

"[Goya is] in absolute penury [and wants] assistance [of public funds], to perpetuate with his brush the most notable and heroic actions or scenes of our glorious insurrection against the tyrant of Europe [= France]."

"I have now established an enviable way of living, and if anyone wants anything from me they must come to me."

"..the artist [Goya] has worked for a long time and with the utmost care, taste, and intelligence on the numerous commissions he has been given; his artistic merit is so unsurpassable that other artists and the general public all extol his work."

"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."

"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."

"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."

"Having to proceed against painters in accordance with rule 11 of the expurgation procedure, and given that Don Francisco de Goya is the author of two of the works [ 'La maja desnuda' and the 'La maja vestida' ].. ..one of them representing a naked woman on a bed.. ..and the other a women dressed as a 'maja' on a bed.. ..the said Goya [should] be ordered to appear before this tribunal so as to identify them and state whether they are his work, for what reasons he did them, at whose request and what intention guided him."

"His Majesty wishing to reward your distinguished merit and to give in person a testimony that may serve as a stimulus to all professors, of how much he appreciates your talent and knowledge of the noble art of painting, has been pleased to appoint you his chief painter of the Chamber, at a yearly salary of fifty thousand reals, which you will receive from this date free of rights, and also five ducats a year for a carriage. And it is also his pleasure that you occupy the house now inhabited by Don Mariano Maella, should he die first."

"All sorts of ugly birds, soldiers, commoners and monks, fly around a lady who is half-hen; they all fall, and the woman hold them down by the wings, make them throw up and pull out their guts."

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

"I have had luck with my St. Bernardino, not only with the experts, but with the public as well. Without any reservation, everyone is on my side. The King expressed his satisfaction before the whole Court."