Word: goya
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Dates: during 1950-1959
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...Francisco Goya died of the infection that deafened him at 47, he would be remembered only as a Spanish court painter with a knack for candid likenesses. But the tortuous, stone-silent path he entered in middle age led steeply upward, and he clambered gloomily to greatness. The blackest and harshest of the old masters, Goya made bitterness a virtue and found pessimism a fountain of youth. A big traveling show of Goya drawings, on display this week in San Francisco, proves once again how great his final achievement...
Last week, Producers Sam Spiegel (On the Waterfront) and Joseph Mankiewicz (The Barefoot Contessa) were jockeying with each other and with Italian Director Alberto Lattuada (Mill on the Po) to get a head start in shooting the life of Goya in its original Spanish setting. All three want Marlon Brando in the title role. But so does Director Stanley Kramer, whose new film, The Pride and the Passion, will be entirely photographed in Spain...
...made Henri's studio their rendezvous. There, between amateur theatricals, impromptu concerts and Welsh-rarebit feasts, Henri preached a two-fisted approach to painting, drove home his lessons with references to the exciting "modern" works of Courbet and Manet-plus such old masters as Frans Hals, Rembrandt, Goya and Velásquez. Soon his eager listeners, including such star pupils as William Glackens, Everett Shinn. George Luks and John Sloan, were spending their off hours carrying out Henri's advice: "Forget about art and paint pictures of what interests you in life...
Like all revolutionaries of real stature, Manet was not a bit afraid of the past. He drew from an extreme variety of sources, thereby established a broad and solid base for his own experiments.* Manet's reworkings of Hals, Goya and Giorgione, among others, led Oswald (The Decline of the West) Spengler to regard his work as the last gasp of great Western painting, yet his experiments caused Andre (The Voices of Silence) Malraux to call him the first modern artist. Perhaps he was both; certainly his Lunch on the Grass (opposite) stands as a kind of pylon...
...handed oils make up in impact what they lack in grace (TIME, Nov. 6, 1950). To critics who say that his plunging horses, beheaded bulls and heavily laden tables are symbols borrowed from Picasso, Lorjou angrily replies that his inspiration comes direct from El Greco, Velásquez and Goya...