Goya dans l’historiographie française du xixe siècle : images et textes
During the first half on the nineteenth century, France developed an interest in Spanish art. Francisco Goya y Lucientes (1746–1828) gradually made a name for himself, especially for his print cycle Los Caprichos, and was often considered the Spanish artist par excellence. In the second half of the...
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École du Louvre
2015-10-01
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| Series: | Les Cahiers de l'École du Louvre |
| Online Access: | https://journals.openedition.org/cel/287 |
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| author | Agnès Gué |
| author_facet | Agnès Gué |
| author_sort | Agnès Gué |
| collection | DOAJ |
| description | During the first half on the nineteenth century, France developed an interest in Spanish art. Francisco Goya y Lucientes (1746–1828) gradually made a name for himself, especially for his print cycle Los Caprichos, and was often considered the Spanish artist par excellence. In the second half of the century, many books – sometimes illustrated – about the artist began to appear. While art historians and critics were fascinated by Goya, he was not as highly regarded as Velázquez. However, after the major retrospective organized in Madrid in May 1900, Goya was progressively rehabilitated and recognized. This evolution in the way the artist was regarded may be linked to his historiography, in which the importance of the reproductions of his works – whose number increased, thus providing access to numerous works in Spanish collections – should not be neglected. During the first half on the nineteenth century, France developed an interest in Spanish art. Francisco Goya y Lucientes (1746–1828) gradually made a name for himself, especially for his print cycle Los Caprichos, and was often considered the Spanish artist par excellence. In the second half of the century, many books – sometimes illustrated – about the artist began to appear. While art historians and critics were fascinated by Goya, he was not as highly regarded as Velázquez. However, after the major retrospective organized in Madrid in May 1900, Goya was progressively rehabilitated and recognized. This evolution in the way the artist was regarded may be linked to his historiography, in which the importance of the reproductions of his works – whose number increased, thus providing access to numerous works in Spanish collections – should not be neglected. |
| format | Article |
| id | doaj-art-724d34787d744e3bbcd907650248845c |
| institution | Kabale University |
| issn | 2262-208X |
| language | fra |
| publishDate | 2015-10-01 |
| publisher | École du Louvre |
| record_format | Article |
| series | Les Cahiers de l'École du Louvre |
| spelling | doaj-art-724d34787d744e3bbcd907650248845c2025-01-30T13:59:39ZfraÉcole du LouvreLes Cahiers de l'École du Louvre2262-208X2015-10-01710.4000/cel.287Goya dans l’historiographie française du xixe siècle : images et textesAgnès GuéDuring the first half on the nineteenth century, France developed an interest in Spanish art. Francisco Goya y Lucientes (1746–1828) gradually made a name for himself, especially for his print cycle Los Caprichos, and was often considered the Spanish artist par excellence. In the second half of the century, many books – sometimes illustrated – about the artist began to appear. While art historians and critics were fascinated by Goya, he was not as highly regarded as Velázquez. However, after the major retrospective organized in Madrid in May 1900, Goya was progressively rehabilitated and recognized. This evolution in the way the artist was regarded may be linked to his historiography, in which the importance of the reproductions of his works – whose number increased, thus providing access to numerous works in Spanish collections – should not be neglected. During the first half on the nineteenth century, France developed an interest in Spanish art. Francisco Goya y Lucientes (1746–1828) gradually made a name for himself, especially for his print cycle Los Caprichos, and was often considered the Spanish artist par excellence. In the second half of the century, many books – sometimes illustrated – about the artist began to appear. While art historians and critics were fascinated by Goya, he was not as highly regarded as Velázquez. However, after the major retrospective organized in Madrid in May 1900, Goya was progressively rehabilitated and recognized. This evolution in the way the artist was regarded may be linked to his historiography, in which the importance of the reproductions of his works – whose number increased, thus providing access to numerous works in Spanish collections – should not be neglected.https://journals.openedition.org/cel/287 |
| spellingShingle | Agnès Gué Goya dans l’historiographie française du xixe siècle : images et textes Les Cahiers de l'École du Louvre |
| title | Goya dans l’historiographie française du xixe siècle : images et textes |
| title_full | Goya dans l’historiographie française du xixe siècle : images et textes |
| title_fullStr | Goya dans l’historiographie française du xixe siècle : images et textes |
| title_full_unstemmed | Goya dans l’historiographie française du xixe siècle : images et textes |
| title_short | Goya dans l’historiographie française du xixe siècle : images et textes |
| title_sort | goya dans l historiographie francaise du xixe siecle images et textes |
| url | https://journals.openedition.org/cel/287 |
| work_keys_str_mv | AT agnesgue goyadanslhistoriographiefrancaiseduxixesiecleimagesettextes |