Francisco Goya: Los Caprichos
December 3, 2010-January 30,
2011
Acting as an 18th century version of The Daily Show,
Los Caprichos by Francisco Goya took an insightful yet darkly humorous
view of contemporary Spanish society. From blasting provincial superstition to
criticizing political corruption, this set of etchings confirms Goya’s
liberalism and demonstrates the artist’s revulsion at intellectual
oppression imposed by political and religious leaders.
The full set of 18th-century Spanish artist Francisco Goya’s
80 haunting images from Los Caprichos (“The Whims” or
“The Fantasies,” published in 1799) confronts human hypocrisy,
pretense, fear, and irrationality, picturing them in every conceivable form.
Information about the artworks and the artist in the gallery during this
exhibition will be available in English and Spanish. This is the first time the
Taft is offering bilingual labels for an
exhibition.
Goya’s singularly original visions of monsters, specters,
corpses, and other bitter or callous beings enact challenges to authority of
all kinds, including that of the church and state, with great precision and
detail.
“I think visitors will find the images in Los
Caprichos, though created at the end of the 1700s, incredibly relevant to
our current state of the world,” says Deborah Scott, director/CEO of the
Taft Museum of Art. “ Goya created these controversial works in a time of
economic crisis in Spain. He also articulated his Enlightenment ideals
through his work, questioning the church, politicians, and other figures of
authority.”
Los Caprichos are likely the great Spanish artist’s
most influential works and continue to inspire artists to this day. As both
prints and images, theyare decades ahead of their time. Goya pioneered
astonishingly innovative etching techniques, visual forms, and artistic themes,
anticipating the later movements known as Realism, Post-Impressionism,
Symbolism, and Surrealism.
“In these riveting and often nightmarish images, Goya
anticipated by a hundred years Freud’s and the Surrealists’
hallucinatory world of human irrationality and dreams,” says Lynne
Ambrosini, chief curator, Taft Museum of
Art.
“It’s startling how Goya transforms sometimes ghoulish
visions into something of great beauty through the power of his drawing and
printmaking techniques,” says Ambrosini. “His dark skies have
velvety charcoal surfaces so smooth you’d like to touch them; his
monsters have the most alluring, smudged and softened fur, and his decadent
Spanish ladies wear lace mantillas drawn with lines of great
delicacy.”
The etchings on view are from an early first edition, one of four
sets acquired directly from Goya, and belong now to an American private
collector. The exhibition is organized by Landau Traveling Exhibitions, Los
Angeles, California, in association with Denenberg Fine Arts, West Hollywood,
California. Goya (1746–1826) is one of the world’s greatest
artists, as famous for portraits that seemingly penetrate his sitters’
souls as he is for portrayals of the brutality of the Napoleonic Wars in Spain
(1808–14). The Taft Museum of Art owns an important oil portrait by Goya,
Queen Maria Luisa of Spain, of about 1800.