Word: goya
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Dates: during 1950-1959
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...rivalry. When one contributor donates a painting, Chato scurries around to the others to help them make sure they are not being outdone. He places donors' names conspicuously beneath the paintings, and ballyhoos their gifts through his newspaper chain. Coffee King Geremia Lunardelli is the donor of a Goya, a Manet, two Renoirs, a Rodin bronze, two Toulouse-Lautrecs, a Degas and a Ceézanne; the Jafet family (iron) has come through with a Tintoretto, a Renoir and a Gobelin tapestry; Bank President (and former Ambassador to the U.S.) Walther Moreira Salles is donor of a Picasso...
Henry Toledano's first one-man show in Manhattan last year had the critics comparing him to Goya and Ensor and brought customers on the run. In four weeks he sold 19 of the pen & ink drawings on display. Last week Toledano's second exhibition was drawing just as appreciative crowds to the Baltimore Museum of Art, and the museum itself quickly bought one of the pictures...
Besides being one of Spain's greatest painters, Francisco José de Goya y Lucientes was an ardent aficionado of the bullfight. He sometimes signed his name "Francisco de los Toros," and he claimed to have faced the bulls himself in his youth. At 69, after a lifetime of watching the recurring drama of blood, grace and courage, Goya set out to do a pictorial history of the bullfight. The result was a magnificent series of etchings called La Tauromaquia...
...etchings traced the development of bullfighting from its beginnings among the ancient Spaniards who fought in the open country, through the heyday of such distinguished amateurs as the Cid and King Charles V, and up to Goya's own time. One of his best scenes from the early days of bullfighting shows a group of toreros harassing with spears and a primitive banderilla a defiant bull that has downed two of their number. Another dramatic moment is captured in Goya's picture of the death of Pepe Illo, a popular 18th century matador and friend of Goya...
...first commercial edition of the 33 etchings of the Tauromaquia (Goya himself printed only a few copies in 1815) did not come out until 1855. A second edition was printed in 1876. Limited to 400 copies, it sold like wildfire, but a repeat printing was impossible because the plates were lost. They were found again in 1915, and a third and a fourth edition were printed. Finally, the plates disappeared once more during the Spanish Civil War, and it was feared that they had been destroyed in the fighting. In the last few years, the price...