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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Tag torso-del-belvedere
https://atlante.univ-lille.fr/tag/torso-del-belvedere
frThu, 21 Jun 2018 09:14:00 +0200PluXml07. Goya : le corps profané, ou la rupture du modèle classique
https://atlante.univ-lille.fr/07-goya-le-corps-profane-ou-la-rupture-du-modele-classique-roland-behar-p-119.html
https://atlante.univ-lille.fr/07-goya-le-corps-profane-ou-la-rupture-du-modele-classique-roland-behar-p-119.html<p>Roland Béhar<br />École Normale Supérieure, Paris<br /> p. 119-143.</p><p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Roland BÉHAR, « Goya : le corps profané, ou la rupture du modèle classique »</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>La violence des <em>Desastres de la guerra </em>de Goya est produite non seulement par l’horreur immédiate de ce qui est représenté, la guerre, mais aussi par une profonde rupture avec les canons néo-classiques de son temps. L’article rappelle, en prêtant une attention particulière aux aquatintes n° 37 et n° 39, comment Goya s’est formé à l’école de l’imitation des Anciens, du <em>Torse du Belvédère </em>mais aussi et surtout du <em>Laocoon</em>, et comment cette leçon est sensible jusque dans ses œuvres les plus tardives, au prix de constantes transgressions de la représentation classique du corps. Cette transgression, enfin, n’est pas seulement visuelle, elle est aussi intellectuelle : avec les <em>Desastres</em>, Goya fait écho aux considérations du <em>Laocoon </em>(1766) de Lessing sur la laideur et le moment fécond (<em>fruchtbarer Moment</em>) et crée un art se situant radicalement en-dehors de ce que la théorie des Beaux-Arts considérait comme de l’art.</p>
<p style="text-align: justify;"><strong>Mots-clés. </strong>Goya, <em>Desastres de la guerra</em>, Beaux-Arts, <em>Torse du Belvédère</em>, <em>Laocoon</em>, Winckelmann, Lessing, <em>fruchtbarer Moment</em>.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Roland BÉHAR, “Goya: el cuerpo profanado, o la ruptura del modelo clásico”</strong></p>
<p style="text-align: justify;"><strong>Resumen. </strong>La violencia de los <em>Desastres de la guerra </em>de Goya emana no sólo del horror inmediato de lo que se muestra, la guerra, sino también de una profunda ruptura con los cánones neoclásicos de su tiempo. Prestando especial atención a las aguatintas 37 y 39, el artículo recuerda cómo Goya se formó en la imitación de los antiguos, del <em>Torso del Belvedere </em>y, ante todo, del <em>Laocoonte</em>, y cómo esta lección es sensible hasta en sus últimas obras, pero con constantes transgresiones de la representación clásica del cuerpo. Esta transgresión, por último, no es sólo visual, sino también intelectual: con sus <em>Desastres</em>, Goya se hace eco de las consideraciones del <em>Laocoonte </em>(1766) de Lessing acerca de la fealdad y del momento fértil (<em>fruchtbarer Moment</em>), creando así un arte que se ubica completamente fuera de lo que la teoría de Bellas Artes consideraba como arte.</p>
<p style="text-align: justify;"><strong>Palabras clave. </strong>Goya, <em>Desastres de la guerra</em>, Bellas Artes, <em>Torso del Belvedere</em>, <em>Laocoonte</em>, Winckelmann, Lessing, <em>fruchtbarer Moment</em>.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Roland BÉHAR, “Goya: the Profaned Body, or the Rupture of the Classical Model”</strong></p>
<p style="text-align: justify;"><strong>Abstract. </strong>The violence of Goya’s <em>Desastres de la guerra </em>is a result not only of the immediate horror of what is represented, war, but also of a deep rupture with the neoclassical canons of its time. Paying particular attention to aquatints n° 37 and n° 39, this paper recalls how Goya was trained in the school of imitation of the Ancients, of the <em>Belvedere Torso </em>and of the <em>Laocoön</em>, and how this lesson is evident even in his late works, though with constant transgressions of the classical representation of the body. This transgression is not only visual, it is also intellectual: with the <em>Desastres</em>, Goya echoes the considerations of Lessing’s <em>Laocoon </em>(1766) on ugliness and the fruitful moment (<em>fruchtbarer Moment</em>), and creates an art that lies radically beyond what the theory of the fine arts considered as art.</p>
<p style="text-align: justify;"><strong>Key Words. </strong>Goya, <em>Desastres de la guerra</em>, Fine Arts, <em>Belvedere Torso</em>, <em>Laocoon</em>, Winckelmann, Lessing, <em>fruchtbarer Moment</em>.</p>
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<p><strong><a href="https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_6_8.pdf">Télécharger l'article complet (pdf, 2 Mb)</a></strong></p>Thu, 21 Jun 2018 09:14:00 +0200admin