Goya: ‘The last of the old masters and the first of the new’ (U03974)

? Credit Points : 20 ? SCQF Level : 10 ? Acronym : ACE-4-U03974

Arguably one of the most versatile Post-Renaissance artists, Francisco Goya (1746-1828) is a pivotal figure in European art of the eighteenth and early nineteenth centuries. This course places his oeuvre within both the Spanish and European context. It also considers the continued relevance of his work to the present day. We will explore the full range of his pictorial expression - from Goya’s light-hearted tapestry designs, glittering portrayals of the royal family and figures of state, religious paintings, controversial depictions of the nude and the horrors of war to images of beggars, madmen, witches, monsters and strange creatures of the artist’s imagination.

We will focus on the following themes: How do we explain Goya’s transformation from a provincial (and at first unsuccessful) painter to a confident artist who infiltrated the most exclusive aristocracy in Spain and became court painter to the king? To what extent can Goya be defined as an artist of the Enlightenment? A series of works provide the opportunity to look at the dialogue which existed between the painter and key figures interested in the reform and modernisation of the Spanish monarchy. To what extent can Goya be described as a ‘Spanish’ artist, and how did he position himself vis-à-vis his Spanish heritage? What is Goya’s place within the wider European context? For instance, what is the relationship between Goya’s work and Hogarth’s satirical prints in England? What makes Goya a ‘Romantic’ artist? What were the personal, political and social issues that impinged upon his art? Here we will look in particular at Goya’s position as a painter in Madrid during the years of political turmoil and war. It seems he painted for whatever faction (French, British and Spanish). Is it possible to define his attitude? A visit to the Print Room (National Gallery of Scotland) introduces the student to Goya’s most fascinating graphic work – the Proverbios and the Disasters of War.

Entry Requirements

? Pre-requisites : A pass in either History of Art 2 or Architectural History 2a and 2b

Subject Areas

Home subject area

History of Art, (School of Arts, Culture and Environment, Schedule A)

Delivery Information

? Normal year taken : 4th year

? Delivery Period : Semester 1 (Blocks 1-2)

? Contact Teaching Time : 2 hour(s) per week for 11 weeks

All of the following classes

Type	Day	Start	End	Area
Tutorial	Tuesday	14:00	15:50	Central

? Additional Class Information : Seminars will take place on Tuesdays between 1400 and 1550 and 1610 and 1800. Students will be required to attend one of these.

Summary of Intended Learning Outcomes

After successful completion of this course, the student will have acquired:

• An in-depth knowledge of Goya’s life and oeuvre; an understanding of his work in relation to the Spanish tradition, Neo-classicism and Romanticism
• Knowledge of the changing artistic, social, historical and political context (including taste, fashion, society, politics, military conflict) in Spain
• An understanding of Goya’s ‘modernity’ and his influence on subsequent artists
• An ability to set artists, patrons, intellectuals in Spain within the wider European context
• A critical engagement with the methodological approaches towards the study of Goya from 1800 to the present day (including patronage, biography, identity, feminism, gender/sexuality, social history, semiotics, film)
• Analytical and presentation skills through class discussion, writing short papers for presentation and discussion in class, researching and writing one essay.
• First hand experience of dealing with works of art (visit to the National Gallery of Scotland, Print-room)