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ACP EXAM REVISION, (Gabriella Coslovich on The Sydney Morning Herald:,…
ACP EXAM REVISION
GOYA
ARTWORKS
SATURN DEV. HIS SON-
Contrary to the starvation and famines that Goya lived through during the Napoleonic era; Cannibalism occurred during the famine - people starved to death, people sold their children and their wives, people killed each other and committed cannibalism by sacrificing themselves and others for sustenance
We must focus our attention, however, on the late eighteenth and early nineteenth centuries, when, during the Revolutionary Wars and those of the Napoleonic era (1793–1814), Spain suffered the biggest mortality crises and famines in all its modern and contemporary history.
Loyalties divided - Protecting his position as a court painter vs. his hatred for the sorrows brought on by the monarchy and the Inquisition.
Scratchy dry brush application = Indicates a raw frenzied, euphoric and dramatic state
The myth that goes of the Titan, Cronus, eating his children as they were born, from the fear and paranoia of a foretold prophecy that he would eventually be overthrown by one of his heirs. = Representative of the way the Catholic church, King Ferdinand VII where the arrogance and greed for power lead to the destruction of their own people.
Extremely violent visuals = exposing the audience to the tyrannical extent that the inquisition had harmed the country
THE COLUSSUS
Fear: The painting symbolises two components of fear:
- The Powerful, Strong component of Fear: The Giant taking on whatever threats the town - defending the people. The giant represents how fear unleashes our inner powerful capabilities to combat fear, and a human's natural fear of the unknown; The giant/defender/guardian within us is our defender.
- On the other hand, the frantic villagers represent the vulnerable side of fear: in which it causes confusion, hysteria, panic, and it reveals our weaknesses towards threats and tragedies.
Independence / attempts to revolt the monarchy (One man stance, against others)
The Giant could also be Ferdinand VII or Napoleon.
- Their oppressive and incompetent rule
- Aggression and oppression, in the form of the 'colossal egos' that both figures had.
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STRUCTURAL
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Etchings, Drawings and Engravings = Use of hatching to imply tonal variation and values
PERSONAL
Illness& Disability = Contracting a mysterious illness around the 1790s, which had lead him to be permanently deaf, allowing his perception of the world around him to descend into pessimism,
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QUOTES
"Fantasy, abandoned by reason, produces impossible monsters; united with it, she is the mother of the arts and the origin of marvels." -GOYA
"The artist’s entire oeuvre is a critical reaction to the world he lived in: its politics, religion, and even its means of representation" -ANTHONY CASCARDI
Francisco Goya is a Spanish Rococo and romanticist painter and printmaker, who is known for his works that reflect on the social upheavals that occured throughout Spanish history. Goya's oeuvre contains a clear visual language with the use of colour, tone and shape in their purest forms.
BOOTH
ARTWORKS
2021
Spiderwebs = Used to trap prey. Sticky/hard to escape from = representing victims of war who are trapped by the crossfire of their circumstances; predation = used to trap others
fingerless glove = displacement of innocence + sympathy for victims = looks like its being worn by a child based on its vivid red colour and soft material of it, symbolizing the fragility of mankind; Booth's sympathy, especially for the children - the suffering of a generation within landscapes of war, his anger against the continuation of wars affecting the next generation; his fear for the next generation.
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Absence of Life = no sign of life in the painting, besides the remnants of human-built ruins and
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Red fingerless glove = reference to the Girl in Red Coat cameo in Schindler's List (1993). The movie portrays the devastating impacts of war and the displacement of lives during the Holocaust.
2022
brick wall = isolation, progressiveness with liberals.
Illness, sickness - direct reference to the 2019- COVID-19 Global pandemic
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STRUCTURAL
Heavy, Thick, Lumpy Impasto!! = Articulated by mark-making through the use of brushes, palette knives, sticks, shards and fingers.
NEO-EXPRESSIONISM = The contemporary revival of expressionism, that is characterised by intense colours, dramatic figurative forms, emotive subject matter, highly textural applications and vividly contrasting colours.
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QUOTES
[P+C]Peter Booth “I grew up in Sheffield in England which was heavily bombed as the Germans were trying to close down the steel mills there. That’s where the early figurative subjects come from.”
[P]Gary Catalano “The extent to which Booth’s imagination was governed by fear, for almost all the images in it are apparently intended to express a sense of terror.” (Dream Diary)
[S]Nancy Borlase “’lumpish’ figures and ‘images of evil’, a ‘satanic humour’…touched by a note of menace and mockery reminiscent of the savage satire of Goya’s Los Caprichos suite of etchings.”
[S + C]Peter Booth ‘The figures in my paintings are never about physical deformity, but about psychological deformity.’ (‘The Dark Side’ in Good Weekend, 1990)
Gary Catalano, poet and art critic ‘in offering the viewer little but black surfaces to inspect, Booth has challenged us to exert our powers of intuition’, conceding that ‘[s]omewhat like the Sphinx, these pictures pose a riddle to anyone foolish enough to pause in front of them.’
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Catalano identifies to colour used in Booth’s 1970s paintings as ‘a compulsion to produce images which registered his experience of gravity and mystery.’ [P]
(C): Anthony Fitzpatrick, Curator at Tarrawarra gallery: Booth's paintings portray the "rise of partisan politics and the noise mob ... conflict and warfare ... concerns that have been there from the outset of his figure paintings in the late 1970s."
(C) Fitzpatrick: "In many ways, it does feel like his work is having more resonance as we continue to see the escalating impacts of the climate crisis unfolding.
Gabriella Coslovich on The Sydney Morning Herald: "Sheffied echoes through his work and imagery that the fiery blasts of industrial furnaces, sooty urban landscapes, the mangled wreackage of buildings, and teh quiet beauty of snow. The city insinuates itself into Booth's imagination sometimes without him even being conscious of it.
[Painting 2022 is portrayed as] a man whose body is completely bandaged sits atop a tall, grey, brick wall as snow falls. The man's mouth gives a silent howl of anguish."
DIFFERENCES
Goya had only witness the Domestic affairs within his respective environment of Spain, whereas Booth had witnessed global affairs.
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SIMILARITIES
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Precense of human-like creatures with animalistic qualities, or humans morphing into creatures = Anthropomorphism / Metamorphosis - The changes and transformation of a physical appearance and form can link towards the transformation in social climate and the human state
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(C): Anthony Fitzpatrick, Curator at Tarrawarra gallery:
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[S]Nancy Borlase “’lumpish’ figures and ‘images of evil’, a ‘satanic humour’…touched by a note of menace and mockery reminiscent of the savage satire of Goya’s Los Caprichos suite of etchings.”
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GOYA QUOTES
Romanticsm
"Romanticism is precisely situated neither in choice of subject nor in exact truth, but in a way of a feeling," - Charles Bau de laire, French Poet.
Both paintings -> use mostly of Saturn Devouring his Son:
Goya: 'Monsters are the result of the Sleep of Reason"
"The sleep of reason produces Monsters"
Comment son the Age of Enlightenment, when liberal and intellectuals are suppressed under the reign of oppressive monarchies.
The Colussus (1812)
- "A prophetic allegory of the misfortunes that took place during the War of Independence" - Nigel Glendinnings (Art scholar/lecturer)
- "The giant, moves from resistance/defence, proud and erect, to slumped melancholy, reflecting the mood of many Spaniards, a collective feeling shared by its creator."
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