A collection of the prints of Goya.

This book presents the first focused investigation of Francisco Goya's (1746–1828) graphic output. Spanning six decades, Goya’s works on paper reflect the transformation and turmoil of the Enlightenment, the Inquisition, and Spain's years of constitutional government. Two essays, a detailed chronology, and more than 100 featured artworks illuminate the remarkable breadth and power of Goya's drawings and prints, situating the artist within his historical moment. The selected pieces document the various phases and qualities of Goya's graphic work—from his early etchings after Velázquez through print series such as the Caprichos and The Disasters of War to his late lithographs, The Bulls of Bordeaux, and including albums of drawings that reveal the artist’s nightmares, dreams, and visions.

Searing disputes over caricature have recently sparked flames across the world?the culmination, not the beginning, of the story of one of modernity's definitive artistic practices. Modern visual satire erupts during a period marked by reform and revolution, by cohering nationalisms and expanding empires, and by the emerging discipline of art history. This has long been recognized as its Golden Age. It is time to look anew. In The Efflorescence of Caricature, 1759-1838, an international, interdisciplinary, and intergenerational team of scholars reconfigures the geography of modern visual satire, as the expansive narrative reaches from North America to Europe, to China and the Ottoman Empire. Caricature's specific visual cultures are also laid bare, its iconographic means and material support, as well as the diverse milieu of its making?the military, the art academy, diplomacy, politics, art criticism, and popular entertainment. Some of its greatest practitioners?James Gillray and Honor?aumier?are seen in a new light, alongside some of their far flung and opportunistic pastichers. Most trenchantly, assumptions about the consequences of caricature's rise come under intense scrutiny, interrogated for its cherished and long-vaunted civilizational claims on individual character, artistic supremacy, political liberty, and global domination.

This edited collection brings together literary scholars and art historians, and maps how satire became a less genre-driven and increasingly visual medium in the seventeenth through the early nineteenth century. Changing satire demonstrates how satire proliferated in various formats, and discusses a wide range of material from canonical authors like Swift to little known manuscript sources and prints. As the book emphasises, satire was a frame of reference for well-known authors and artists ranging from Milton to Bernini and Goya. It was moreover a broad European phenomenon: while the book focuses on English satire, it also considers France, Italy, The Netherlands and Spain, and discusses how satirical texts and artwork could move between countries and languages. In its wide sweep across time and formats, Changing satire brings out the importance that satire had as a transgressor of borders.

"This book is the first to examine the extraordinary Goya collection--which includes more than 1,400 prints, a drawing, and three paintings--in the Norton Simon Museum. The collection includes prints from various series and editions treating a range of subjects, such as religious iconography, landscapes, portraits, and social satire. Lushly illustrated and authored by a distinguished Goya scholar, this catalogue is an essential guide to a treasure trove of the artist's works"--

Choice Outstanding Academic Title for 2020 With the dramatic rise of Freemasonry in the eighteenth century, art played a fundamental role in its practice, rhetoric, and global dissemination, while Freemasonry, in turn, directly influenced developments in art. This mutually enhancing relationship has only recently begun to receive its due. The vilification of Masons, and their own secretive practices, have hampered critical study and interpretation. As perceptions change, and as masonic archives and institutions begin opening to the public, the time is ripe for a fresh consideration of the interconnections between Freemasonry and the visual arts. This volume offers diverse approaches, and explores the challenges inherent to the subject, through a series of eye-opening case studies that reveal new dimensions of well-known artists such as Francisco de Goya and John Singleton Copley, and important collectors and entrepreneurs, including Arturo Alfonso Schomburg and Baron Taylor. Individual essays take readers to various countries within Europe and to America, Iran, India, and Haiti. The kinds of art analyzed are remarkably wide-ranging-porcelain, architecture, posters, prints, photography, painting, sculpture, metalwork, and more-and offer a clear picture of the international scope of the relationships between Freemasonry and art and their significance for the history of modern social life, politics, and spiritual practices. In examining this topic broadly yet deeply, Freemasonry and the Visual Arts sets a standard for serious study of the subject and suggests new avenues of investigation in this fascinating emerging field.

Robert Hughes, who has stunned us with comprehensive works on subjects as sweeping and complex as the history of Australia (The Fatal Shore), the modern art movement (The Shock of the New), the nature of American art (American Visions), and the nature of America itself as seen through its art (The Culture of Complaint), now turns his renowned critical eye to one of art history’s most compelling, enigmatic, and important figures, Francisco José de Goya y Lucientes. With characteristic critical fervor and sure-eyed insight, Hughes brings us the story of an artist whose life and work bridged the transition from the eighteenth-century reign of the old masters to the early days of the nineteenth-century moderns. With his salient passion for the artist and the art, Hughes brings Goya vividly to life through dazzling analysis of a vast breadth of his work. Building upon the historical evidence that exists, Hughes tracks Goya’s development, as man and artist, without missing a beat, from the early works commissioned by the Church, through his long, productive, and tempestuous career at court, to the darkly sinister and cryptic work he did at the end of his life. In a work that is at once interpretive biography and cultural epic, Hughes grounds Goya firmly in the context of his time, taking us on a wild romp through Spanish history; from the brutality and easy violence of street life to the fiery terrors of the Holy Inquisition to the grave realities of war, Hughes shows us in vibrant detail the cultural forces that shaped Goya’s work. Underlying the exhaustive, critical analysis and the rich historical background is Hughes’s own intimately personal relationship to his subject. This is a book informed not only by lifelong love and study, but by his own recent experiences of mortality and death. As such this is a uniquely moving and human book; with the same relentless and fearless intelligence he has brought to every subject he has ever tackled, Hughes here transcends biography to bring us a rich and fiercely brave book about art and life, love and rage, impotence and death. This is one genius writing at full capacity about another—and the result is truly spectacular.

"This book examines the broad archive of texts that Oscar Wilde read from quite early in his literary career through to the release of Dorian Gray, making the case for a transnational network of literary forms that influenced Wilde's unique and hybrid prose. Arguing that prevailing scholarly discourse on Dorian's aesthetic and decadent contexts has unintentionally obscured an even richer array of cultural movements from which Wilde drew inspiration, O'Toole makes a significant case for a more dynamic reading of the novel"--

In 850 analytical articles, this two-volume set explores the developments that influenced the profound changes in thought and sensibility during the second half of the eighteenth century and the first half of the nineteenth century. The Encyclopedia provides readers with a clear, detailed, and accurate reference source on the literature, thought, music, and art of the period, demonstrating the rich interplay of international influences and cross-currents at work; and to explore the many issues raised by the very concepts of Romantic and Romanticism.