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Madryt malarski i filmowy. O Duchach Goi Miloša Formana

100%

Kozłowski K.

tom 12

nr 21

115-126

If Milos’s Forman target in Amadeus was to present Mozart’s music as dramatis personae, then in Goya’s Ghosts everything revolves around the paintings of Goya, which he perceives in a way that is not based on the artist’s biography. He was far from wanting to direct a movie about Goya, as he cared solely about picturing the demons that were haunting the artist. His point of view on the works of this great Spaniard was one of widely understood referentiality that stemmed from his being convinced of the documental understanding of historical facts. This is noticable both in reference to Los Caprichos (1797-1798) and to Los desastres de la Guerra (1810-1820), but mostly it evinces itself in paintings crafted for the court and paintings that were created to document Spanish protest against the French occupants who had occupied Goya’s fatherland. It helped to integrate paintings showing Madrid and its surroundings into a flow of movie pictures, which determined the notability of Forman’s film, but it also led to the non-recognition of the agenda of freedom inscribed in Goya’s creations; the consequences were that Forman misread the painter’s intentions and interpreted both of the oeuvres too realistically – Los Caprichos and Los desastres de la guerra, not excluding such works as historical paintings and portraits. The summary includes remarks about visible transfer from formal art to informal art, from manor painting to the intronisation of “liberalism in art”.

Madrid on film and in painting. About Goya’s Ghosts by Milos Forman If Milos’s Forman target in Amadeus was to present Mozart’s music as dramatis personae, then in Goya’s Ghosts everything revolves around the paintings of Goya, which he perceives in a way that is not based on the artist’s biography. He was far from wanting to direct a movie about Goya, as he cared solely about picturing the demons that were haunting the artist. His point of view on the works of this great Spaniard was one of widely understood referentiality that stemmed from his being convinced of the documental understanding of historical facts. This is noticable both in reference to Los Caprichos (1797-1798) and to Los desastres de la Guerra (1810-1820), but mostly it evinces itself in paintings crafted for the court and paintings that were created to document Spanish protest against the French occupants who had occupied Goya’s fatherland. It helped to integrate paintings showing Madrid and its surroundings into a flow of movie pictures, which determined the notability of Forman’s film, but it also led to the non-recognition of the agenda of freedom inscribed in Goya’s creations; the consequences were that Forman misread the painter’s intentions and interpreted both of the oeuvres too realistically – Los Caprichos and Los desastres de la guerra, not excluding such works as historical paintings and portraits. The summary includes remarks about visible transfer from formal art to informal art, from manor painting to the intronisation of “liberalism in art”.

Francisco Goya, Vincent van Gogh, Edvard Munch - świat urojony w twórczości wybitnych artystów malarzy

96%

Lebowa W.

nr 2

73-84

Francisco Goya, Vincent van Gogh and Edvard Munch – romanticism, impressionism and expressionism, were outstanding painters whose most famous paintings are known all over the world. They owe their success to courageous breaking patterns in artistic terms. All three characters are connected by painting and madness. Van Gogh suffered from schizophrenia, panic attacks and obsessions. He was struggling with tobacco and alcohol abuse. Munch was affected by depression and neurotic disorders, mental illness also occurred in his family. Both were treated in psychiatric hospitals. Goya underwent a stroke and at the end of his life he was completely deaf. He isolated himself from the world within the walls of his estate. In addition, all three artists were constantly exposed to lead poisoning and paint fumes. Both mental and organic diseases left their mark on their work and should be an integral element in the interpretation of their works.

Francisco Goya, Vincent van Gogh i Edvard Munch (romantyzm, impresjonizm i ekspresjonizm) to wybitni malarze, których najsłynniejsze obrazy znane są na całym świecie. Sukces zawdzięczają odważnemu przełamywaniu schematów na gruncie artystycznym. Wszystkie trzy postacie łączy malarstwo oraz szaleństwo. Van Gogh cierpiał na schizofrenię, ataki paniki i manii prześladowczej. Zmagał się z nadużywaniem tytoniu i alkoholu. Munch był dotknięty przez depresję i zaburzenia nerwicowe, choroby psychiczne występowały również w jego rodzinie. Obaj leczyli się w szpitalach psychiatrycznych. Z kolei Goya przeszedł udar mózgu, a pod koniec życia, całkowicie głuchy, odizolował się od świata w murach swojej posiadłości. Ponadto wszyscy trzej byli stale narażeni na zatrucie ołowiem oraz oparami farb. Zarówno choroby psychiczne, jak i organiczne odcisnęły piętno na ich twórczości i powinny stanowić integralny element interpretacji ich dzieł.