رندان

lifepornography:

Bathers, by Maurice de Vlaminck

endlessquestion:

Maurice de Vlaminck- Bord de la Riviere

bofransson:

Landscape Maurice de Vlaminck

Rachmaninoff

theoceanspectre:

The Sleep of Reason Produces Monsters: Plate 43 of The Caprices (Los Caprichos), 1799
Francisco Goya (Spanish, 1746–1828)

The full epigraph for this plate is, “Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”

lost-in-my-own-soul:

The Straw Manikin
Artist: Francisco Goya

melteddali:

Francisco Goya - Fight With Cudgels

arthistorygallery:

Francisco Goya, The Family of Charles IV, 1800, oil on canvas.

So Goya’s “day job”—his bread and butter—was making official portraits of the King and Queen of Spain. This is one of my favorite of Goya’s court paintings because it can be pretty easily construed as him looking at the royal family and saying “screw all y’all.”

For one, Francisco de Paula, the little boy in red, wasn’t actually the son of the king. He was the son of another man in the painting, Don Luis de Parma. Goya has painted both of these figures in red with white and blue sashes as though trying to expose the family.

In addition, the faces are all vacant, and very non-idealized, perhaps to highlight the corruption of the court. It has also been suggested that one of the paintings in the background is of Lot and his daughters—citizens of Sodom with heavy implications of incest in the Biblical telling—to suggest the immorality of the court generally and this family specifically. 

artandhaydn:

In his book Painting the Cannon’s Roar, Thomas Tolley makes various connections between the works of Francisco Goya and the works of Haydn, specifically Haydn’s quartets of op.76. The next couple of posts will deal with this opus of works and the Spanish painter. Firstly, above we see Goya’s Witches’ Sabbath, a perfect representation of Goya’s ability to depict the grotesque.

The Haydn work that comes to mind when viewing this image (again, somewhat obviously, due to the titles/nicknames) is the String Quartet in D minor, op.76 no.2. This Quartet is known as the Quinten Quartet, for its use of intervals of a fifth in the opening movement. Anyone who has studied music theory has likely had it drilled into their heads to avoid parallel fifths and octaves when writing harmonies. That being said, given the name of the quartet, one can anticipate a sense of uneasiness that is about to come. This effect is even more intense in the third movement, aptly named the “Witches’ Minuet” due to its harsh harmonies, parallel octaves, canonical form, and the fact that the trio that follows it does not resolve the tension created in the minuet, as one typically would. Upon listening to this movement, it is easy to get a feel of how this harshness relates to the theme of grotesque pictured above.

The link below begins at the Witches’ Minuet, and includes the fourth movement (which interestingly switches to D major towards the end, finally giving that anticipated sense of resolution) at around 3:15. Be sure to listen for the canonical form in which the cello and viola repeat the melody of the two violins, for a heightened sense of “witchy-ness”. 

http://www.youtube.com/watch?v=NpR_Tq2catw Enjoy! 

-Rachel

matheusreis:

Francisco Goya, La Tormenta de Nieve (invierno), 1787. Oil on canvas.