Goya witches.

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Goya's Witches Francisco Jose de Goya y Lucientes (Spanish: Francisco Jose de Goya y Lucientes, March 30, 1746, Fuendetodes, near Zaragoza - April 16, 1828, Bordeaux) - a great Spanish artist and engraver. One of the most brilliant masters of the romantic movement and art.

Great goat, Date of creation: 1798. Type: fresco. One of the images from the “Dark Pictures” series. The canvas was painted during the most difficult period of the artist’s life, when he began to lose his hearing and suffer from monstrous visions that haunted him in his dreams and in reality. He transferred these incredible hallucinations to the walls of his own home. “The Sabbath of Witches” was located along the wall of the room and, with its incredible surrealism and gloomy coloring, it drove everyone into the room into a stupor.

Painting, Witches' Sabbath, Date of creation: 1797–1798. Location: Lazaro Galdiano Museum. The magnificent painting is part of a series of six works created by Goya, commissioned by the Duke of Osuna, to decorate his estate, near Madrid. The main character of the scene is the devil. He is represented in the form of a large goat, ready to sacrifice two babies. The work is considered satirical and critical of the superstitions of an uneducated society. Francisco Goya, although he created many works on mystical themes, treated it with humor and distrust, probably seeing only interesting scenes and images in mysterious rituals and beliefs.

Painting "Have a nice trip!" (Series "Caprichos"). Date of creation 1799. Biography: The famous artist Francisco de Goya was born on March 30, 1746 in Fuendetodos in Spain. He began his studies of art as a teenager and even spent some time in Rome to further his skills. In the 1770s, Goya worked in the Spanish royal court. In addition to commissioning portraits of nobles, he created works that criticized the social and political problems of his era. The political situation in the country subsequently became so tense that Goya voluntarily went into exile in 1824. Despite his poor health, he thought he would be safer outside Spain. Goya moved to Bordeaux, where he spent the rest of his life. Here he continued to write. Some of his later works are portraits of friends and life in exile. The artist died on April 16, 1828 in Bordeaux in France.

Goya's two most famous paintings are La Maja desnuda and La Maja vestida.

They depict a woman in the same pose, naked and clothed.No claims to allegory or mythological meaning.The identity of the sitter is uncertain. The most likely version is that it depicts the model - the Duchess of Alba, with whom Goya had a relationship, so it is believed.The paintings were never publicly exhibited during Goya's lifetime.

Family of Charles IV

Portrait of the Marquise of Santa Cruz

It is not known for certain whether this portrait is a depiction of the artist’s wife, painted in 1796 year.

Water Carrier

Mahi on the balcony

Portrait of Dona Isabel

Don Manuel Osorio Manrique de Zuniga

Portrait of Maria Teresa de Bourbon

Duchess of Alba

Duchess of Alba

Francisco de La Tirana

Portrait of the Countess of Chinchon

Ferdinand Guillemardet

Dona Tadea Arias de Enriquez

Marquise de Pontejos

Countess of Chinchon

Dona Teresa Suredda

Queen Marie Louise

Francisco de Marquise de la Solana

Woman with fan

Gaspar de Melchor

Portrait of Juan Antonio Cuervo

Portrait of Mariano Goya

Portrait of Antonia Zarate

Portrait of Victor Guye

In 1746, a son was born into the family of a master gilder and the daughter of an impoverished nobleman. In 1760, the family moved to Zaragoza and here the young man was sent to the workshop of the artist Luzana y Martinez. A few years later, involved in a fight, he is forced to flee Zaragoza. In 1766, Goya came to Madrid. Here he gets acquainted with the works of court artists, improves his skills and even participates in competitions at the Madrid Academy of Fine Arts, hoping to be accepted into the Royal Academy of Fine Arts of San Fernando. His painting was rejected and he went to Italy. He ends up in Rome, where he gets acquainted with the paintings of Italian masters. However, being an adventurous person, he again gets into trouble: at night he sneaks into a nunnery to kidnap his beloved; caught in the act, he is forced to leave Rome. In 1771, having received the second prize from the Parma Academy of Arts for a painting on a theme from ancient history, he returned to Zaragoza, where he worked on frescoes in the late Italian Baroque tradition (side nave of the church of Nuestra Señora del Pilar, 1771-1772). Around 1773, Goya settled in Madrid with his friend Francisco Bayeu, and worked in his workshop. Bayeu was then the official court painter of King Charles IV and Queen Marie Louise.

In 1791, Goya met the Duchess of Alba, who became his lover and patron. He begins to court her. But in 1792-93. He is overtaken by an illness, as a result of which he loses his hearing. During his recovery in 1792, Goya began working on his first large series of etchings, Caprichos (completed by 1799), a satire on political, social and religious orders. In 1798, Charles IV commissioned Goya to paint the dome of his country church of San Antonio de la Florida. In 1796, the Duchess's husband died, she goes to mourn this loss to her estate in Andalusia, and takes Goya with her. He painted her portraits many times; the two most famous of them are “Maja Nude” (c. 1797) and “Maja Dressed” (c. 1802, Prado). After her death, he creates "Macha on the Balcony" (circa 1816, Metropolitan Museum of Art, New York). The Duchess of Alba died in 1802. She bequeathed to give out 3,500 reais annually from her remaining fortune to Javier Goya, the artist’s son. In 1808, Spain was occupied by Napoleon. Goya witnessed the uprising against Napoleonic troops in Madrid and the repression that followed. His son married the daughter of a rich merchant and began to live separately. Goya was left completely alone. During these extremely difficult years for Goya, he lived alone in the country house “Quinta del Sordo” (that is, “House of the Deaf”), the walls of which he painted in oils (1820-1823, the paintings are now in the Prado). Monument to Goya in Zaragoza He meets Leocadia de Weiss, the wife of businessman Isidro Weiss, who then divorces her husband. She had a daughter from Goya, who was named Rosarita. Fearing persecution from the new Spanish government, in 1824 Goya, along with Leocadia and little Rosarita, went to France, where he spent the last four years of his life. By this time, Goya's influence on artistic culture began to acquire pan-European significance. A crater on Mercury is named after Goya.

On April 4, Danny Boyle’s new film “Trance” will be released on Russian screens, the story of a confrontation between an auctioneer, a gangster and a psychotherapist over a stolen painting worth $25 million. Boyle is one of those Britons who managed to achieve unconditional recognition from Hollywood. His film Slumdog Millionaire was recognized as the best film of 2008 in England and the USA and collected all the major market awards - BAFTA, Golden Globe and Oscar. At the same time, Boyle’s themes are far from those accepted in mass culture: drug addiction, violence, religious and national enmity. In the new film he explores hypnosis. And the power of money. Like a true British eccentric, he began the interview himself

Have you already talked to Vincent (Vincent Cassel, who played the role of the gang leader Frank. - “RR”)? You see, Vincent often visited Russia. He has a lot of stories and thoughts on this matter. As for me, I only presented my films and didn’t really see anything. Although last year, when my daughter turned 21, I took her to St. Petersburg. The Hermitage shocked me. I could spend a couple of weeks there. Imagine, you enter a room - and Matisse is hanging there and no one is there! You look around: where are the visitors? Where is the security? Nobody! You can calmly look at the picture, and no one will bother you. There is nothing like this anywhere else in the world!

Is that where you got the idea to make this film about a stolen painting?

Maybe... (Laughs)

Why did you choose Francisco Goya’s “Witches in the Air” for the film?

Goya expanded the scope of his contemporary art: he began to paint not only the real world, but also what people think or guess about. He often examined dreams. "Witches in the Air" is his most surreal work, it plunges the viewer into madness. When I saw in the picture a man running with his head covered with a blanket, I was amazed how much this corresponded to the character of the main character, the auctioneer Simon, who is running but does not know where.

The heroes of "Trance" are successful people. Why should they run somewhere? Simon works in a large auction house, Frank is a big businessman, Elizabeth has rich clients. The feeling is that they want to steal a Goya painting because they are simply bored.

When you make a film, you want it to have an impetus for something new. The energy of transition to another world. The impetus for such a transition could be a suitcase with money that falls on your head, a stolen painting, or participation in the show “Who Wants to Be a Millionaire” in India.

Working on a film opens you up to this new world. I like cinema precisely because as a director you don’t know where new circumstances will take you. I come from a spoiled, pampered world, and I want to break through its limitations. My heroes want to do something unusual. Elizabeth works every day with people who come to her to overcome their fear of spiders or golf addiction. Naturally, she's bored!

That is, residents of rich countries subconsciously strive for cruelty and chaos?

Take, for example, the Olympic Games in London. A year before the Olympics, England saw uprisings. London was burning, people were stealing, greed was spilling out. And a year later - the Olympics, which became an expression of the national spirit. Society always requires conformity: it is necessary to preserve order and society itself. But freedom of expression must still be protected, although this is not always pleasant. When the punk movement began in England, it was unacceptable to most. And today this movement is full of innocence and romanticism. Because the idea of ​​freedom is always romantic and idealistic. By the way, I was a punk myself.

Simon constantly repeats that no painting is worth a human life. Is there anything at all that is worth it?

Another person's life. Just this. If you forget about this, it is very easy to start burning people in ovens again.

Who do you think is the hero of the 21st century?

Or a heroine. In "Trance" I gave a woman a serious role for the first time. It’s not immediately obvious, but the engine of the entire film is a woman. I have two beautiful daughters who are already in their twenties, but I still haven’t made a film with a woman in the lead, can you imagine? Although, if you choose a hero of the 21st century, I am sure it will be a woman.

Where will it come from?

We try to look into the future, but everything we rely on is from the past. I think women will have the biggest impact in applied sciences. For example, Samsung has released a smartphone that watches you. If you stop looking at it, it turns off, look again, it turns on. Look at the people around you: they check their phones every two seconds. The connection between man and technology will become ever stronger. Soon biotechnologists will make gadgets parts of the human body, and our heroine of the 21st century must come from this world, and not from traditional fields like culture or politics.

Where will cinema go in this situation?

Today, even in a cinema, a person can watch the same film he came to see, simultaneously on the screen of his smartphone. Simply because it’s more common. It's impossible to stop people from updating their Twitter every minute during a movie. We must learn to accept this.

One thing I know is that people have always loved a good story. Psychologically, people are geared towards a constant search for new stories and facts through any broadcaster, be it TV, telephone, cinema or the theater stage. We always need more.

Many people think that cinemas will not survive, but I hope they will. Because there is something special about the collective perception of ideas. On the other hand, my view is the view of my generation. Personally, I love going to the movies. And as a director, I'm trying to find what makes people want to go to a movie theater and sit in a dark room with strangers, rather than just download a movie and watch it wherever and whenever it's convenient.

You directed the opening ceremony of the London Olympics. Is it more difficult than making a movie?

For me personally, making films is more difficult. The Olympics are the history of the country, this is always relevant. And in cinema you tell personal stories. But personal history is an organic thing, it changes every minute. I constantly have to do something so that the story I'm filming doesn't become outdated during filming.

This is actually a pressing problem for cinema now. You make a story, the film comes out a year later. You have some kind of technical novelty there, but a year later technology has moved forward, and no one will remember what you show there. That's why I've never made topical films myself. And that is why directors constantly choose love, death, sex, fear - the eternal components of our lives - as themes.

That is, topics loved by Hollywood. But you still work with them differently - more darkly or something... And you still get Oscars for it.

I always try to work outside of the Hollywood system. But in practice, we all work within this system. Even take low-budget, talented films: no one will see them until the studio takes them under their wing and starts distributing them.

I admit it. But I try to keep my stories unexpected. I tried to make “Trance” so that the viewer would always doubt: at the beginning of the film, James McAvoy seems to be the hero (he plays the auctioneer Simon. - “RR”), but in his true light he appears before us only at the end. Cassel starts off as a classic villain, but by the end of the film he becomes like a teenager who doesn't know what to do with his feelings. All these shades can be shown only if you work with a smaller budget, which allows you to go against the traditions of Hollywood. Hollywood works because people want simple values, obviously. But it's always nice to confuse him and shoot something darker than he wants.