Ebook Goya: The Last Carnival (Reaktion Books - Essays in Art and Culture), by Victor I. Stoichita, Anna Maria Coderch
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Goya: The Last Carnival (Reaktion Books - Essays in Art and Culture), by Victor I. Stoichita, Anna Maria Coderch
Ebook Goya: The Last Carnival (Reaktion Books - Essays in Art and Culture), by Victor I. Stoichita, Anna Maria Coderch
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This intriguing book on Goya concentrates on the closing years of the eighteenth century as a neglected milestone in his life.
Goya waited until 1799 to publish his celebrated series of drawings, the Caprichos, which offered a personal vision of the "world turned upside down". Victor I. Stoichita and Anna Maria Coderch consider how themes of Revolution and Carnival (both seen as inversions of the established order) were obsessions in Spanish culture in this period, and make provocative connections between the close of the 1700s and the end of the Millennium. Particular emphasis is placed on the artist's links to the underground tradition of the grotesque, the ugly and the violent. Goya's drawings, considered as a personal and secret laboratory, are foregrounded in a study that also reinterprets his paintings and engravings in the cultural context of his time.
- Sales Rank: #269524 in Books
- Brand: Brand: Reaktion Books
- Published on: 2000-01-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.10" w x 6.00" l, 1.70 pounds
- Binding: Paperback
- 320 pages
- Used Book in Good Condition
About the Author
Victor I. Stoichita is Professor of the History of Art at the University of Fribourg, Switzerland. He is author of Visionary Experience in the Golden Age of Spanish Art (Reaktion, 1995) and A Short History of the Shadow (Reaktion, 1997).
Anna Maria Coderch is an art historian.
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1 of 1 people found the following review helpful.
The World Turned Upside Down
By Luca Graziuso and Marina Ross
This ground-breaking reading of Goya's late work concentrates on his Caprichos using Bakhtin's notion of "carnival" to explain the celebrated series: more specifically its violence and its disturbing compositions are here portrayed by the authors as Goya's personal vision of a world turned upside down.
The Marquis De Sade is a second emblematic figure in this fascinating adventure into the reversal of all values. In conjunction with Goys's late work the authors show how obsessions with the notions of revolution and carnival, both inversions of the established order, characterized European culture at the end of the eighteenth century. Topics such as perversion, violence, transvestism, folly and the triumph of the flesh reveal art searching for techniques of ambiguity while adopting a symbolism of laughter. The study is deeply moving at times and the scholarly tone never becomes dry. The book is cultural theory more so then a critique of Goya's art. Should one wish to know Goya in depth Robert Hughes' Goya has more to offer (and the reproductions are more copious and of better quality), yet Stoichita and Coderch's book on Goya and the cultural milieu which affected his vision is second to none and a pleasure to read.
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