1997 Fiscal Year Final Research Report Summary
Goya's Graphic Work and Engravers'Training at the Royal Academy in the late 18th century in Spain
| Project/Area Number |
08610065
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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 |
Fine art history
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| Research Institution | SHOWA WOMEN'S UNIVERSITY |
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Principal Investigator |
KINOSHITA Akira SHOWA WOMEN'S UNIVERSITY FACULTY OF LITERATURE ASSOCIATE PROFESSOR, 文学部, 助教授 (60195328)
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| Project Period (FY) |
1996 – 1997
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| Keywords | Francisco Goya / Etchings in Spain / Aquatint |
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| Research Abstract |
In 1799, Francisco Goya published the etchings series, The Caprichos, using new grapfic techniques aquatint with distinguished effects. Nevertheless, in spite of its important position in European Prints, there have not been many studies on The Caprichos referring to the graphic tradition in Spain. Above all, how Goya learned the use of aquatint has not been explained clearly yet.
The reporter, through the research at the Calcografia Nacional and the Biblioteca Nacional in Madrid, will clarify how the new technique aquatint was introduced in Spain.
We can point out, for the moment, three contradictory facts :
1.Bartolome Sureda is said to be the man who showed aquatint for the first time in Spain in 1797 after returning from London. There is a strong possibility that he taught Goya the use of aquatint.
2.Jose Ximeno, Goya's comtemporary engraver, produced the magnificient etchings using aquatint in 1790.
3.Goya also applied aquatint though not so skillfully, in the etchings after paintings of Velazquez, probably in early 1780's. These Goya's etchings could be the earliest examples of a graphic work with aquatint in Spain. It so, from the point of innovative graphic techniques, the etchings after Velazquez's paintings should be interpretated as a highly ambitious work equivalent to The Caprichos.
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Research Products
(4 results)
