Francisco Goya and Court Arts in the second half of the 18^<th> century Spain
| Project/Area Number |
15520092
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | Showa Women's University |
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Principal Investigator |
KINOSHITA Akira Showa Women's University, Graduate School of Human Life Sciences, 生活機構研究科, 教授 (60195328)
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| Project Period (FY) |
2003 – 2005
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| Project Status |
Completed (Fiscal Year 2005)
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| Budget Amount *help |
¥1,600,000 (Direct Cost: ¥1,600,000)
Fiscal Year 2005: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2004: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2003: ¥600,000 (Direct Cost: ¥600,000)
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| Keywords | Francisco Goya / Spanish Art / Court Painting / Carlos IV / ゴヤ / 18世紀後半 / エル・パルド宮 / 宮廷美術 / マドリード王宮 / カルロス3世 / アクワティント / スペイン・ブルボン家 / 宮廷画家 / 王室絵画コレクション / 王宮 / 版画技法 / 美術理論 |
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| Research Abstract |
This research confirms the trends in court arts during the latter half of the 18^<th> century Spain, or during the Reign of Carlos III (1759-1788) and the Reign of Carlos IV (1788-1808). Carlos III commissioned the interior decoration of the new Royal Palace in Madrid, which had been completed in 1764, and the expansion of the palaces at Aranjuez, El Pardo and El Escorial. Continuing on, Carlos IV commissioned the building of small, but exquisitely refined villas at each of the royal palaces. As in recent years research has advanced, there has been recognition of the existence of many court artists under the reign of Carlos IV, and a need for revision of normally accepted theories regarding the court arts of the period.
I did research on these small villas, visitng the Casa del Labrador of Aranjuez in 2003, the Casita del Principe of El Escorial in 2004, and the Casita del Principe of El Pardo in 2005, respectively. I recognized by these visits that the courtly arts sought by Carlos IV
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were small-scale, more refined, highly finished forms, compared to the large-scale architectural projects of his father Carlos III. Besides the number of court painters increased from 7 under the reign of Carlos III to 26 under the reign of Carlos IV, with special note to the fact that his court employed numerous painters who speicialized in specific genres.
Francisco Goya (1746-1828) did not receive any commission from the royal household during 1790s except the ceiling paintings for the church of San Antonio de la Florida in 1798 and a pair of portraits of the king and queen and Maria Luisa on Horseback in 1799. Goya was not involved at all in the decoration of the palaces in the 1790s, while contemporary court painters Bayeu and Maella were. Thus we can not consider Goya as a successful and favorite painter of Carlos IV in 1790s. I argued the question in "Goya and the Development of Court Arts in Bourbon Spain", in the Exhibition Catalogue From Titian to Goya. Museo del Prado Masterpieces, Metropolitan Art Museum, Tokyo, in 2006. Less
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Report
(4 results)
Research Products
(6 results)
