Atlante - Revue d'études romanes

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	<title>Atlante - Revue d&#039;études romanes - Tag animaux</title>
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		<title>10. El bestiario goyesco y su simbología política</title> 
		<link>https://atlante.univ-lille.fr/10-el-bestiario-goyesco-y-su-simbologia-politica.html</link>
		<guid>https://atlante.univ-lille.fr/10-el-bestiario-goyesco-y-su-simbologia-politica.html</guid>
		<description>&lt;p&gt;Lydia V&amp;aacute;zquez, Juan Manuel Ibeas&lt;br /&gt;Universidad del Pa&amp;iacute;s Vasco&lt;br /&gt;Euskal Herriko Unibertsitatea&lt;br /&gt;p. 206-236.&lt;/p&gt;&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Juan Manuel IBEAS, Lydia V&amp;Aacute;ZQUEZ, &amp;laquo;&amp;nbsp;Le bestiaire goyesque et sa symbolique politique&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&amp;nbsp;&lt;/strong&gt;La d&amp;eacute;fense de l&amp;rsquo;animal a &amp;eacute;t&amp;eacute; une constante dans la trajectoire vitale et artistique de Francisco de Goya. Les toiles et les cartons pour tapisserie de sa premi&amp;egrave;re &amp;eacute;poque repr&amp;eacute;sentent de mani&amp;egrave;re r&amp;eacute;currente des animaux domestiques et sauvages dans toute leur splendeur&amp;nbsp;: de l&amp;rsquo;animal de compagnie aux c&amp;ocirc;t&amp;eacute;s de son ma&amp;icirc;tre, au symbole de diverses vertus, l&amp;rsquo;animal acquiert depuis les d&amp;eacute;buts de la carri&amp;egrave;re artistique du peintre aragonais une place insolite dans la tradition picturale. Les gravures des &lt;em&gt;Caprichos&lt;/em&gt;, des &lt;em&gt;Desastres&lt;/em&gt; et de la &lt;em&gt;Tauromaquia&lt;/em&gt; continuent &amp;agrave; accorder au r&amp;egrave;gne animal la m&amp;ecirc;me importance. L&amp;rsquo;animal familier, la b&amp;ecirc;te f&amp;eacute;roce, non seulement ne perdent pas de leur poids mais s&amp;rsquo;imposent avec toujours plus de force dans l&amp;rsquo;imaginaire de l&amp;rsquo;artiste. Paradoxalement, le premier Goya revendique, par le biais de l&amp;rsquo;animal, une humanit&amp;eacute; en harmonie avec la nature, pour c&amp;eacute;der le pas progressivement &amp;agrave; l&amp;rsquo;&amp;laquo;&amp;nbsp;autre Goya&amp;nbsp;&amp;raquo; qui se servira de l&amp;rsquo;animalit&amp;eacute; pour d&amp;eacute;noncer la cruaut&amp;eacute; humaine&amp;nbsp;: chats, chiens, chevaux, taureaux,&amp;nbsp;&amp;acirc;nes, singes, lions, oiseaux, b&amp;ecirc;tes fantastiques et monstres concourent &amp;agrave; ce but. Des &amp;oelig;uvres comme l&amp;rsquo;&amp;eacute;nigmatique portrait de &lt;em&gt;Don Manuel de Osorio de Z&amp;uacute;&amp;ntilde;iga ni&amp;ntilde;o&lt;/em&gt;, &lt;em&gt;La ri&amp;ntilde;a de gatos&lt;/em&gt;,&lt;em&gt; Carlos III cazador&lt;/em&gt; ou, d&amp;eacute;j&amp;agrave; dans sa seconde p&amp;eacute;riode, &amp;laquo;&amp;nbsp;&lt;em&gt;El Sue&amp;ntilde;o de la Raz&amp;oacute;n produce monstruos&lt;/em&gt;&amp;nbsp;&amp;raquo;, &amp;laquo;&amp;nbsp;&lt;em&gt;Donde va mam&amp;aacute;&lt;/em&gt;&amp;nbsp;&amp;raquo;, jusqu&amp;rsquo;au point culminant du &lt;em&gt;Perro semihundido&lt;/em&gt;, le montrent bien. La d&amp;eacute;fense de l&amp;rsquo;animal contre la violence de son environnement est une constante dans l&amp;rsquo;&amp;oelig;uvre du peintre aragonais, qui entre magistralement en ad&amp;eacute;quation avec les circonstances personnelles de la vie de l&amp;rsquo;artiste et son &amp;eacute;poque.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Mots-cl&amp;eacute;s.&amp;nbsp;&lt;/strong&gt;Goya, bestiaire, animaux, chats, chiens.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Juan Manuel IBEAS, Lydia V&amp;Aacute;ZQUEZ, &amp;ldquo;El bestiario goyesco y su simbolog&amp;iacute;a pol&amp;iacute;tica&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen.&amp;nbsp;&lt;/strong&gt;La defensa del animal ha sido una constante en la trayectoria vital y art&amp;iacute;stica de Francisco de Goya. Los lienzos y cartones para tapices de su primera &amp;eacute;poca representan de manera recurrente animales dom&amp;eacute;sticos y salvajes en todo su esplendor: del animal dom&amp;eacute;stico compa&amp;ntilde;ero de su amo, al s&amp;iacute;mbolo de virtudes diversas, el animal adquiere desde los inicios de la carrera art&amp;iacute;stica del pintor aragon&amp;eacute;s un protagonismo ins&amp;oacute;lito en la tradici&amp;oacute;n pict&amp;oacute;rica. Los grabados de sus &lt;em&gt;Caprichos&lt;/em&gt;, &lt;em&gt;Desastres&lt;/em&gt; y &lt;em&gt;Tauromaquias&lt;/em&gt; siguen otorg&amp;aacute;ndole la misma envergadura al reino animal. El animal familiar, la fiera, no s&amp;oacute;lo no pierden relevancia sino que se van imponiendo en el imaginario del artista. Parad&amp;oacute;jicamente, el primer Goya reivindica, a trav&amp;eacute;s del animal, una humanidad arm&amp;oacute;nica con la naturaleza, para dar paso paulatinamente al &amp;ldquo;otro Goya&amp;rdquo; que se servir&amp;aacute; de la animalidad para denunciar la crueldad humana: gatos, perros, caballos, toros, asnos, monos, leones, aves, bestias fant&amp;aacute;sticas y monstruos sirven a sus fines. Todo ello queda reflejado en obras como el enigm&amp;aacute;tico retrato de &lt;em&gt;Don Manuel de Osorio de Z&amp;uacute;&amp;ntilde;iga ni&amp;ntilde;o&lt;/em&gt;, &lt;em&gt;La ri&amp;ntilde;a de gatos&lt;/em&gt;, &lt;em&gt;Carlos III cazador&lt;/em&gt;, o ya en su segunda &amp;eacute;poca &amp;ldquo;El Sue&amp;ntilde;o de la Raz&amp;oacute;n produce monstruos&amp;rdquo;, &amp;ldquo;Donde va mam&amp;aacute;&amp;rdquo;, hasta culminar en el &lt;em&gt;Perro semihundido&lt;/em&gt;. La defensa del animal en contra de la violencia del entorno es una constante en la obra del pintor aragon&amp;eacute;s, lo que concuerda magistralmente con las circunstancias personales y vitales del artista y su &amp;eacute;poca.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Palabras clave.&amp;nbsp;&lt;/strong&gt;Goya, bestiario, animales, gatos, perros.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Juan Manuel IBEAS, Lydia V&amp;Aacute;ZQUEZ, &amp;ldquo;The Goyesque Bestiary and Its Political Symbolism&amp;rdquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Abstract.&amp;nbsp;&lt;/strong&gt;The protection of animals has been a constant aspect of Francisco de Goya&amp;rsquo;s life and artistic path. The canvas and tapestry cartoons of his early period frequently represent domestic and wild animals in all their splendour: from the pet &amp;ndash; side by side with its master &amp;ndash;, to the symbol of various virtues, the animal has occupied an unusual space within the pictorial tradition since the beginning of the Aragonese painter&amp;rsquo;s artistic career. Later, the prints of the &lt;em&gt;Caprichos&lt;/em&gt;, the &lt;em&gt;Desastres&lt;/em&gt; and the &lt;em&gt;Tauromaquia&lt;/em&gt; still give this importance to the animal kingdom. Rather: not only do the domestic animal or the beast not lose their influence, they also gradually impose themselves into the artist&amp;rsquo;s imagination. Paradoxically, through the animal, the First Goya claims humankind is in harmony with nature, but he then gives way to the &amp;ldquo;other Goya&amp;rdquo;, who uses animality to denounce human cruelty. Cats and dogs, horses and bulls, donkeys, monkeys, lions and birds, fantastic beasts and monsters, contribute to achieve this goal. It is evidenced in works such as the enigmatic portrait of &lt;em&gt;Don Manuel de Osorio de Z&amp;uacute;&amp;ntilde;iga ni&amp;ntilde;o&lt;/em&gt;, &lt;em&gt;La ri&amp;ntilde;a de gatos&lt;/em&gt;, &lt;em&gt;Carlos III cazador&lt;/em&gt; or, already in his second period, &amp;ldquo;&lt;em&gt;El Sue&amp;ntilde;o de la Raz&amp;oacute;n produce monstruos&lt;/em&gt;&amp;rdquo; and &amp;ldquo;&lt;em&gt;Donde va mam&amp;aacute;&lt;/em&gt;&amp;rdquo;, until the climax of the &lt;em&gt;Perro semihundido&lt;/em&gt;. The protection of animals against a violent environment is a constant aspect of the Aragonese painter&amp;rsquo;s work, which masterfully gets along with the personal circumstances of the artist&amp;rsquo;s life and his time.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Keywords.&amp;nbsp;&lt;/strong&gt;Goya, bestiary, animals, cats, dogs.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_6_11.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 454 Kb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:16:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
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