Word: goya
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...strong current of social idealism. This did not show itself so much in Utopian schemes as in a vague aspiration toward spiritual improvement, salvation through sensitivity, the obverse of which was the weird consumptive eroticism of Schiele. If Schiele was the Cranach of the movement, Beckmann was its Goya: a maker of thickly constructed and disturbing fables in which the collective fantasies of postwar malaise were summed...
...speaking, one never understands anything from a photograph .. . Only that which narrates can make us understand." Here, one may feel. Sontag exaggerates too sweepingly. If only narration gives cognition, every static visual image, from the bulls of Lascaux to the horse in Guernica, is condemned, by implication, to muteness. Goya's Third of May is an instant that epitomizes a massacre, not a narrative of the whole event. It shares that with photography, but who could say it does not enlarge our understanding of what it meant to be in a ravaged Spain...
...night of denial, Spaniards are luxuriating in the arts, in a taste for consumer goods, in a relaxation of old mores. The new freedom has already spurred a renaissance in journalism and film. Burger Kings and jeans are in. Only two years ago, a policeman ordered a picture of Goya's Naked Maja removed from a bookstore window because it was "filth." Today the operative word is des-tape (uncovering)?as the stacks of gamy magazines on newsstands amply demonstrate...
...century, the characters and props of the demonic tradition take their final curtain call: the persecuted Christ, the scrawny monsters, the whole malevolent apparatus of hooks and claws, skeletons and distended orifices, grimacing masks and threatening crowds that had served European artists so well up to the death of Goya. The Guggenheim Museum's current retrospective of Ensor, more than 110 pieces, tries to present him as a modern artist, which he was not. Ensor's was a solo act at the end of a tradition...
...Still, Goya's spectres remain. The KTA-ROK government has a highly-skewed and, in essence, propagandistic view of what Korean studies should be and how they wish Korea to be understood. Heeding alike the speed of its economic progress and its political, legal and even artistic retrogression, Seoul's zeal is to present modern economic and trade burgeoning as the hallmark of national life while sweeping politics, art, literature, law, history--anything humane--under the academic carpet. Harvard bought most, but not all, of this concept, insisting on adding studies of society. The outcome is a two-headed monster...