The Ottawa Journal from Ottawa, Ontario, Canada • Page 33

TV ft iM. IT vpm 'lie Si 'ii1 THE BULLS BORDEAUX Mariano Ceballos rides a boll to kill a boll. gwiimMwp'imi mm i VN foi I ml I VM 'I STRANGULATION BY GAKROTING For a titled murderer a noble death. BIRTH OF GOYA'S SATIRES 1 The sleep of reason produces monsters' artist Francisco Goya (1746-1828) was never as interested in the broad histor- Pages 33 to 44 Hobbies Books rMTho Ottawa Journal Music Comics Saturday, Jan. 18, 1975 if 1 tttT' Moralist, social critic, champion of liberty, NX Theatres land one of the best printmakep of dll time By KIT IRVING Journal reporter slow dehumanization of men and women living through a war.

Goya was a moralist, 8, social critic and -a champion of liberty. His. prints show the hrn vatw th a rAfilonnttnn -in: leal canvas as he was- inthe 0JF hunger the cruelty individual humans who were of the ordinary who a part of it, said Eleanor, with cudgel and rusty sword who has written the de 6 town-often she -ja--1? drawings that will open at the National Gallery on January 73. "Goya court painter at the Spanish court of Fer- dinando VII, and a tapestry cartoonist and draftsman was SO years ahead of his time in printmaking," Miss Sayre Along with and Picasso, lie was, in her opinion, one of the four1 greatest print-makers of all time. Curator of prints and draw- QOYA was born near goza, capital of Aragon, where the citizens, issued the first defiant proclamation to Napoleon, and he went! there to record the progress of the uprising.

1 Military advisers had writ-ttn the city off as less, for it had only 220 men trained as soldiers, 16 guns, a small number of muskets and no money in the treasury. tags at the Boston Museum of Yet found Fine Arts, Miss Sayre was rallying in the war for present at the National independence, and lery in Ottawa last week as drawings show the ruin of" the 2SS drawings and prints PP6 and buildings Mowing for the Goya exhibition were me 42 days of ceaseless bom-. being unpacked. bardment before thecity fell In her catalogue she has Although starving and suf-called. the exhibiti The Chang- feg from an epidemic of ing Image: Prints by Francis- typhus, the people had fought co Goya, and explained that t0 defend their homes, house it showed the progression by and floor by floor, the artist's ideas; often from Any; defectors a first drawing through to the had' been cruelly mutilated final print stage.

and hanged by the defenders. (ITll Dead French soldiers wens "Kb as if we are standing ggei flaked through the in (to's studio, looking over childrenT his shoulder while the image in his mind takes shape and These were the scenes of through prelinilnary war and lamina that Goya' sketches and etching changes; Wade" plates which into a final, satisfying work were never printed for cation in his lifetime: Many of these' "disaster' drawings No -other, exhibition has experimental proofs Ire ever done this for Goya, she mt exhibfUolu added, and credited many private and, museum collec- But unlike present-day war tors, who have loaned photographs, these Goya "dis-with making such complete aster" prints manage to be display possible. esthetically moving as well as records of the horrors of war, Miss Sayre said. HE EXHIBIT tacludes He was the first to use open a large group of Goya space to great effect in his prints recently acquired by pictures, she added, and he the Boston Museum, and often worked directly on the these are combined with 27 etching plate using and drawings from the Prado Mu- inventing dry point and aqua-seum in Madrid, and with tint methods to make changes several proofs pulled expert- and subtle shadings. mentally by Goya himself that have been borrowed PESIDES the series called in Madrid, British Mlu- Disasters, there eeum and the Art Institute of other groups of prints Chicago.

im the show displaying this These proofs were as far same mastery of technique. Francisco Goya Lncientes Pintor (1746-1828). Disasters of War ser es defined fa viewer sai(L "0ne bv isasiers 01 war series, sne daI expressions fa gerieS) Goya has said more about Caprichos, where Goya is Spain than have all tra- During and for many years harsh and biting in his repre- vellers." following the Napoleonic 00 sentation of the vices that he -rti ni. cupation of Spain (1808-1814), sees gnawing at Spain. A lit- 7 8 UV the poUtical climate made it erary and travel reviewer in Varaies omes).

continues impossible for the artist to 1831 wrote that Goya pro- his comment on the civil and publish this graphic portrayal 0 1 understood these social chaos of that period in of the war years. For his pic- vices and painted them as Spanish history. Described in hires show too clearly the though he hated them. the catalogue as the most en igmatic of his prints, the Disparates presents a "profoundly pessimistic picture" of the follies of humanity. Even in the series Tauro- a4 maquia (the art of bullfight- 't-' history of the sipectacle, he doesn't conceal the fact that a day of traditional ritual can end in in unexpected drama and death.

The set of 33 prints that BEHIND THE GOYA EXHIBITION SCENE Art expert Eleanor Sayre, at right, Boston Museum of Fine Arts, visited the National Gallery in Ottawa last week to give technical advice to Catherine Johnston, assistant European' curator, as she prepared a slide show of Francisco Goya's prints. About 36 slides be shown, along with 255 drawings and prints by Goya that have been borrowed from private and museum collections around the world by Miss Sayre-fo form a first in exhibits of the 18th century Spanish artist's print-making skill. The exhibition, opens January 23 and continues at the National Gallery until March 16. "The mockery written in his magnificent sketches gives you gooseflesh and makes ybu shiver," the re- a moderate price of 300 reales in Madrid, included one captioned by Goya, "The: bull jumped into the bleach--ers and lulled two. I saw ing) where Goya records the "The first thing one notices in the print is the triumphant bull standing above a knot of fleeing and fallen spectators," Miss Sayre recalled.

"It is one of the most concise and powerful of all Goya's etched was offered for sale in 1816 at works." VlfwSMhi MORTALLY WOUNDED IN A DUEL, A YOUNG MAN IS SUPPORTED IN HIS SWEETHEART'S ARMS These two drawings and final print show how Goya evolved an idea hto caustic emotional focus..