Goya: del absolutismo ilustrado a la libertad política
This paper intends to fully place Goya’s painting within the evolution of enlightened thought, from criticism of the privileged classes, beginning with the clergy, to that of moral degradation at the time of Maria Luisa and de Godoy. In this perspective, his unfurling imagination refers to real mons...
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| Format: | Article |
| Language: | English |
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Centre de Recherches Ibériques et Ibéro-Américaines
2021-02-01
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| Series: | Cahiers de Civilisation Espagnole Contemporaine |
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| Online Access: | https://journals.openedition.org/ccec/11432 |
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| author | Antonio Elorza |
| author_facet | Antonio Elorza |
| author_sort | Antonio Elorza |
| collection | DOAJ |
| description | This paper intends to fully place Goya’s painting within the evolution of enlightened thought, from criticism of the privileged classes, beginning with the clergy, to that of moral degradation at the time of Maria Luisa and de Godoy. In this perspective, his unfurling imagination refers to real monsters. «No dejes ninguno» / «Leave None of Them» is his response to the “divine reason” after 1812. The journey is long, but fundamentally constant, moving from tapestry cartoons showing illustrations supporting the Constitution, to its collapse in 1814, which opened the way for the Black Paintings. |
| format | Article |
| id | doaj-art-bbc1b77cd2394d65b440a4da55759a26 |
| institution | Kabale University |
| issn | 1957-7761 |
| language | English |
| publishDate | 2021-02-01 |
| publisher | Centre de Recherches Ibériques et Ibéro-Américaines |
| record_format | Article |
| series | Cahiers de Civilisation Espagnole Contemporaine |
| spelling | doaj-art-bbc1b77cd2394d65b440a4da55759a262025-01-30T10:09:58ZengCentre de Recherches Ibériques et Ibéro-AméricainesCahiers de Civilisation Espagnole Contemporaine1957-77612021-02-012510.4000/ccec.11432Goya: del absolutismo ilustrado a la libertad políticaAntonio ElorzaThis paper intends to fully place Goya’s painting within the evolution of enlightened thought, from criticism of the privileged classes, beginning with the clergy, to that of moral degradation at the time of Maria Luisa and de Godoy. In this perspective, his unfurling imagination refers to real monsters. «No dejes ninguno» / «Leave None of Them» is his response to the “divine reason” after 1812. The journey is long, but fundamentally constant, moving from tapestry cartoons showing illustrations supporting the Constitution, to its collapse in 1814, which opened the way for the Black Paintings.https://journals.openedition.org/ccec/11432Francisco de GoyaCaprichosTapestry cartoonsEl CensorEnlightened Spanish despotism The Disasters of War |
| spellingShingle | Antonio Elorza Goya: del absolutismo ilustrado a la libertad política Cahiers de Civilisation Espagnole Contemporaine Francisco de Goya Caprichos Tapestry cartoons El Censor Enlightened Spanish despotism The Disasters of War |
| title | Goya: del absolutismo ilustrado a la libertad política |
| title_full | Goya: del absolutismo ilustrado a la libertad política |
| title_fullStr | Goya: del absolutismo ilustrado a la libertad política |
| title_full_unstemmed | Goya: del absolutismo ilustrado a la libertad política |
| title_short | Goya: del absolutismo ilustrado a la libertad política |
| title_sort | goya del absolutismo ilustrado a la libertad politica |
| topic | Francisco de Goya Caprichos Tapestry cartoons El Censor Enlightened Spanish despotism The Disasters of War |
| url | https://journals.openedition.org/ccec/11432 |
| work_keys_str_mv | AT antonioelorza goyadelabsolutismoilustradoalalibertadpolitica |