The notion of crisis in its various manifestations—war, illness, addiction—appears throughout this collection of Schjeldahl’s final assignments for the New Yorker after his lung cancer diagnosis in 2019. Schjeldahl’s writing serves as a model for criticism in some ways and falls short in others.
Self Portrait, by Francisco de Goya
Credit: Hulton Fine Art Collection
They are some of the most disturbing paintings in the history of art. In one, a man scuttles from the darkness. His eyes are wild, popping with paranoia. In his hands is a headless corpse – his son, cannibalised. Dark blood pours from his mouth. In another, two peasants, bodies poised in combat, cudgels swinging, are ready to bludgeon each other to death. Then there is the image of a tiny dog, its head dwarfed by a massive swoosh of water, about to slip beneath the waves and drown.
Francisco de Goya, who was born 275 years ago this year, made the so-called Black Paintings, including the notorious Saturn Devouring His Son, between 1819 and 1823. He daubed them directly onto the walls of his house in the suburbs of Madrid called Quinta del Sordo, the house of the deaf man. By this time the artist was stone-deaf and blackly depressed: he had witnessed famine, revolution, political turbulence, war and the dea
April 21, 2021
On Wednesday, April 21, from 4-5 p.m. join this virtual program, by Janis A. Tomlinson who is lecturing about the exhibition, World Without Reason: Goya’s Los Disparates. At some point between his 70th and 75th year, the Spanish artist Francisco José de Goya y Lucientes (1746-1828) etched images published thirty-six years after his death as Los Proverbios. Following that 1864 publication, impressions of the plates with titles in Goya’s hand that described the scenes as disparates, perhaps best translated as “irrationalities” came to light, justifying the title by which we today know these etchings. In this lecture, Janis Tomlinson will discuss how the intriguing imagery of these works mark a new creative departure for Goya, to be continued in works to follow, including the well-known “black” paintings. An internationally recognized authority on Goya, Janis Tomlinson is the author of several books on the artist. Tomlinson’s recently published biography
Live streamed Lecture by Janis A Tomlinson, Los Disparates and Goya s Late Works: Triumphs of Caprice | WSU Insider wsu.edu - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from wsu.edu Daily Mail and Mail on Sunday newspapers.
April 16, 2021
On Wednesday, April 21, from 4-5 p.m. join this virtual program, by Janis A. Tomlinson who is lecturing about the exhibition, World Without Reason: Goya’s Los Disparates. At some point between his 70th and 75th year, the Spanish artist Francisco José de Goya y Lucientes (1746-1828) etched images published thirty-six years after his death as Los Proverbios. Following that 1864 publication, impressions of the plates with titles in Goya’s hand that described the scenes as disparates, perhaps best translated as “irrationalities” came to light, justifying the title by which we today know these etchings. In this lecture, Janis Tomlinson will discuss how the intriguing imagery of these works mark a new creative departure for Goya, to be continued in works to follow, including the well-known “black” paintings. An internationally recognized authority on Goya, Janis Tomlinson is the author of several books on the artist. Tomlinson’s recently published biography