#goya — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #goya, aggregated by home.social.
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Corral de locos, Francisco Goya
One of the paintings of the insides of madhouses by Goya that are really good. He was mentally ill in his lifetime and I think it comes across, I know it comes across, some of his art is dark on the inside, haha. I love them and I wouldn't want copies on the wall here. But they let you know you're not alone if you're having a bad day. Oh holy Buddha keep me out of the dark places inside ❤️ If you're alive you're never alone
#art #mastery #goya #dark #madness #unwellness #sickness #headache #kookoo #cocoaPuffs #mindfulness #hope #holy #heart #love #peace #relief
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Corral de locos, Francisco Goya
One of the paintings of the insides of madhouses by Goya that are really good. He was mentally ill in his lifetime and I think it comes across, I know it comes across, some of his art is dark on the inside, haha. I love them and I wouldn't want copies on the wall here. But they let you know you're not alone if you're having a bad day. Oh holy Buddha keep me out of the dark places inside ❤️ If you're alive you're never alone
#art #mastery #goya #dark #madness #unwellness #sickness #headache #kookoo #cocoaPuffs #mindfulness #hope #holy #heart #love #peace #relief
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"There is no more appropriate foreign country in which to spend the 250th anniversary of the birth of the United States than Spain." 🇪🇸 🇺🇸
"This is a country that has known empire. This is a country that has lost empire. And this is a country that shows us that an empire in decline is not necessarily a bad thing."
Sunday Pages: "The Black Paintings" - PREVAIL by Greg Olear
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"There is no more appropriate foreign country in which to spend the 250th anniversary of the birth of the United States than Spain." 🇪🇸 🇺🇸
"This is a country that has known empire. This is a country that has lost empire. And this is a country that shows us that an empire in decline is not necessarily a bad thing."
Sunday Pages: "The Black Paintings" - PREVAIL by Greg Olear
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Here's a link to Greg Olear's article on Goya's "black" paintings. I couldn't put it down.
I want to jump on a plane to Madrid right now!
https://gregolear.substack.com/p/sunday-pages-the-black-paintings
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Here's a link to Greg Olear's article on Goya's "black" paintings. I couldn't put it down.
I want to jump on a plane to Madrid right now!
https://gregolear.substack.com/p/sunday-pages-the-black-paintings
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♬️ Just announced: Tue Sep 29, 7pm: KAL-EL
https://www.dnalounge.com/calendar/2026/09-29d.html?utm_source=sp_ma
#dnalounge #kalel #goya #volume #sludgemetal #doomrock #stonerrock #metal #livemusic #concert #sanfrancisco -
♬️ Just announced: Tue Sep 29, 7pm: KAL-EL
https://www.dnalounge.com/calendar/2026/09-29d.html?utm_source=sp_ma
#dnalounge #kalel #goya #volume #sludgemetal #doomrock #stonerrock #metal #livemusic #concert #sanfrancisco -
#PLAT DU #JOUR aepiot.com/advanced-sea... #DEATHS IN 2026 www.perplexity.ai/search/new?q... #GOYA #AWARD #FOR #BEST #MAKEUP #AND #HAIRSTYLES chatgpt.com?prompt=Analy... github.com/globalaudien... aePiot: Strategic Web 4.0 connectivity. Build nodes, win at SEO.
MultiSearch Tag Explorer -
#GOYA #AWARD #FOR #BEST #COSTUME #DESIGN semantic-search.allgraph.ro/advanced-sea... #ITALIAN #TUNISIANS www.perplexity.ai/search/new?q... www.paypal.com/donate?busin... aePiot: The key to the Web 4.0 vault. Build nodes, dominate SEO.
MultiSearch Tag Explorer -
A secret garden in Madrid opens for Thomas Houseago’s ‘ugly sculptures’ https://www.allforgardening.com/1750769/a-secret-garden-in-madrid-opens-for-thomas-houseagos-ugly-sculptures/ #garden #Goya #madrid #prado #ThomasHouseago
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A secret garden in Madrid opens for Thomas Houseago’s ‘ugly sculptures’ https://www.allforgardening.com/1750769/a-secret-garden-in-madrid-opens-for-thomas-houseagos-ugly-sculptures/ #garden #Goya #madrid #prado #ThomasHouseago
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“The most beautiful experience we can have is the mysterious”*…
Henri Matisse, View of Notre Dame, 1914, oil on canvas, 58 x 37 ⅛ in, via Wikimedia Commons. Public domain.Eminent art critic and historian Hal Foster has started what will be a four-part series in The Paris Review on looking at– and seeing– art…
Many of us look at art in the company of others; I have done so with a close friend, off and on, for five decades. We meet at a museum, wander around, settle on a painting (or, rather, it settles on us), look, talk, look more, talk more. We attend to the work and to each other; we enter its world together. Only recently and rarely have we written up our reactions, which we do individually. A testament to our friendship, this writing is also a tribute to the art, to the discursivity that informs it and the sociability that it allows.
Paintings call out to us in myriad ways. My friend and I are most drawn to pictures that are reflexive about looking, that anticipate it, that sharpen it, that alter our habits of seeing. This may be a Modernist criterion, but it hardly disqualifies older art; we have ranged as far back as Early Netherlandish painting. In this selection, though, I focus on pictures that date from the past hundred and fifty years. (For better or worse, that’s also my academic field.)
My aim in this exercise isn’t to tease out context, which is almost too present in wall texts today. Immediacy may be a mirage, but I try to come to my chosen works as directly as possible. It’s not that I ignore the texts on the walls; I just don’t get stuck there. I don’t pretend to see with a “period eye,” as Michael Baxandall called the attempt to perceive as historical viewers may have. Contextual information may often be necessary, but I keep it at a useful minimum. And though I sometimes get speculative, that’s part of the fun. In fact, one purpose of these studies is to be loosened from my scholarly superego (which isn’t very strong, in any case). I want to demystify the viewing of art a little, not to deskill it exactly, but to suggest that anyone can do it. Ignorant Art History is a big tent.
Looking at a painting is a welcome respite from scanning a screen. In that sense, this exercise is reactive: I labor in the small cottage industry of attention that has sprouted up in the cracks of the massive complex of distraction all around us. A phenomenological turn often occurs at times of intensive mediation, but the point is not simply to have our perceptions mirrored back to us. T. J. Clark has put the aim nicely: “When I am in front of a picture the thing I most want is to enter the picture’s world: it is the possibility of doing so that makes pictures worth looking at for me.” To look at a painting is also to exit our world for a while, and then to return to it cast in a different—distant—light. The time travel is often wonderful, and almost free…
The first of his short essays, on the Matisse pictured above, just dropped…
… As we approach this painting, we have little idea of what it depicts, or whether it depicts anything at all. A washy blue covers the entire surface unevenly, and its space is traversed by several black vectors. A vertical line stretches the length of the canvas on the far right, where it intersects with two horizontal lines that cut across the center of the picture. In the lower half of the painting, three diagonal lines run roughly parallel to one another, also toward the right.
The main motif floats in the top third of the painting. Outlined heavily in black, its interior is made up of the same blue as elsewhere except for one white blotch and a few black planes, scratched to reveal the white underneath. Three thin, white planes also appear in the interior, each crossed with a horizontal black stripe; the central plane divides the space in two.
All this is hard to sort out, and two more pieces on the right—a green blob beside a black one—only add to the puzzle. It is a complicated painting, but its complication is borne of simplicity. Completed in 1914, at the beginning of World War I, it is an austere work in an austere time.
The title offers a kind of lifeline: View of Notre Dame. But what kind of view and from where? And what are all the black lines? Neither abstract nor representational, the painting requires a shift in our way of looking: its elements are less images of things than signs for them.
We know that the Notre-Dame sits on the western end of the Île de la Cité in Paris. So the three diagonals might signify the quai along the Left Bank, the low path alongside the Seine, and the great river. The two horizontal lines then read as a bridge over the Seine, and the slight curve underneath them as its arched support. Finally, the long vertical line serves as the near edge of the quai, or perhaps of the very building from which the view is taken. The angles suggest that we look down on the scene from a Left Bank apartment several floors up. The overall blue signifies air and water where that seems appropriate, and anything else (or nothing at all) where it does not.
How does the squarish motif convey the famous cathedral? If the bisected shape suggests the two great towers, the white plane between them might evoke the rose window. Since we view the cathedral from the Left Bank, it appears turned away from us slightly, its south side more exposed. If the black areas register the sides of the building in deep shadow, the white ones might signify the play of light across the facade. And the blobs in green and black? The green could be a plant, and the black its shadow.
The pieces don’t add up completely or neatly. But then signification is about signaling-just-enough rather than representing-in-full. Here, seeing is guesswork. It often is elsewhere, too; we just don’t acknowledge it. Sometimes a sign doesn’t signify and sometimes it suggests more than one thing. The diagonals evoke both the quai and the river; the black areas convey a material thing here and an immaterial shadow there.
Around this time, Matisse kept a studio above the quai Saint-Michel. Might View of Notre Dame double as a view of the interior from which it was painted? In that case, the Paris cathedral is also a French window, with blue sky and white clouds seen in or through the glass; the green shrub is also a plant on the sill; the lines of the bridge are also the molding in the room; and—who knows?—the diagonals of the bank are also the easel on which this very painting was produced…
The remaining three installments will drop weekly into May.
* “The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science.” – Albert Einstein
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As we appreciate art, we might recall that on this date in 1808, at the outbreak of the Peninsular War, the people of Madrid rose up in rebellion against French occupation.
In 1814, Francisco de Goya memorialized the event in his painting The Second of May 1808.
#art #artCriticism #artHistory #culture #Goya #HalFoster #history #Madrid #Matisse #Napoleon #PeninsularWar #TheChargeOfTheMamelukes #TheIgnorantArtHistorian #TheSecondOfMay1808 -
“The most beautiful experience we can have is the mysterious”*…
Henri Matisse, View of Notre Dame, 1914, oil on canvas, 58 x 37 ⅛ in, via Wikimedia Commons. Public domain.Eminent art critic and historian Hal Foster has started what will be a four-part series in The Paris Review on looking at– and seeing– art…
Many of us look at art in the company of others; I have done so with a close friend, off and on, for five decades. We meet at a museum, wander around, settle on a painting (or, rather, it settles on us), look, talk, look more, talk more. We attend to the work and to each other; we enter its world together. Only recently and rarely have we written up our reactions, which we do individually. A testament to our friendship, this writing is also a tribute to the art, to the discursivity that informs it and the sociability that it allows.
Paintings call out to us in myriad ways. My friend and I are most drawn to pictures that are reflexive about looking, that anticipate it, that sharpen it, that alter our habits of seeing. This may be a Modernist criterion, but it hardly disqualifies older art; we have ranged as far back as Early Netherlandish painting. In this selection, though, I focus on pictures that date from the past hundred and fifty years. (For better or worse, that’s also my academic field.)
My aim in this exercise isn’t to tease out context, which is almost too present in wall texts today. Immediacy may be a mirage, but I try to come to my chosen works as directly as possible. It’s not that I ignore the texts on the walls; I just don’t get stuck there. I don’t pretend to see with a “period eye,” as Michael Baxandall called the attempt to perceive as historical viewers may have. Contextual information may often be necessary, but I keep it at a useful minimum. And though I sometimes get speculative, that’s part of the fun. In fact, one purpose of these studies is to be loosened from my scholarly superego (which isn’t very strong, in any case). I want to demystify the viewing of art a little, not to deskill it exactly, but to suggest that anyone can do it. Ignorant Art History is a big tent.
Looking at a painting is a welcome respite from scanning a screen. In that sense, this exercise is reactive: I labor in the small cottage industry of attention that has sprouted up in the cracks of the massive complex of distraction all around us. A phenomenological turn often occurs at times of intensive mediation, but the point is not simply to have our perceptions mirrored back to us. T. J. Clark has put the aim nicely: “When I am in front of a picture the thing I most want is to enter the picture’s world: it is the possibility of doing so that makes pictures worth looking at for me.” To look at a painting is also to exit our world for a while, and then to return to it cast in a different—distant—light. The time travel is often wonderful, and almost free…
The first of his short essays, on the Matisse pictured above, just dropped…
… As we approach this painting, we have little idea of what it depicts, or whether it depicts anything at all. A washy blue covers the entire surface unevenly, and its space is traversed by several black vectors. A vertical line stretches the length of the canvas on the far right, where it intersects with two horizontal lines that cut across the center of the picture. In the lower half of the painting, three diagonal lines run roughly parallel to one another, also toward the right.
The main motif floats in the top third of the painting. Outlined heavily in black, its interior is made up of the same blue as elsewhere except for one white blotch and a few black planes, scratched to reveal the white underneath. Three thin, white planes also appear in the interior, each crossed with a horizontal black stripe; the central plane divides the space in two.
All this is hard to sort out, and two more pieces on the right—a green blob beside a black one—only add to the puzzle. It is a complicated painting, but its complication is borne of simplicity. Completed in 1914, at the beginning of World War I, it is an austere work in an austere time.
The title offers a kind of lifeline: View of Notre Dame. But what kind of view and from where? And what are all the black lines? Neither abstract nor representational, the painting requires a shift in our way of looking: its elements are less images of things than signs for them.
We know that the Notre-Dame sits on the western end of the Île de la Cité in Paris. So the three diagonals might signify the quai along the Left Bank, the low path alongside the Seine, and the great river. The two horizontal lines then read as a bridge over the Seine, and the slight curve underneath them as its arched support. Finally, the long vertical line serves as the near edge of the quai, or perhaps of the very building from which the view is taken. The angles suggest that we look down on the scene from a Left Bank apartment several floors up. The overall blue signifies air and water where that seems appropriate, and anything else (or nothing at all) where it does not.
How does the squarish motif convey the famous cathedral? If the bisected shape suggests the two great towers, the white plane between them might evoke the rose window. Since we view the cathedral from the Left Bank, it appears turned away from us slightly, its south side more exposed. If the black areas register the sides of the building in deep shadow, the white ones might signify the play of light across the facade. And the blobs in green and black? The green could be a plant, and the black its shadow.
The pieces don’t add up completely or neatly. But then signification is about signaling-just-enough rather than representing-in-full. Here, seeing is guesswork. It often is elsewhere, too; we just don’t acknowledge it. Sometimes a sign doesn’t signify and sometimes it suggests more than one thing. The diagonals evoke both the quai and the river; the black areas convey a material thing here and an immaterial shadow there.
Around this time, Matisse kept a studio above the quai Saint-Michel. Might View of Notre Dame double as a view of the interior from which it was painted? In that case, the Paris cathedral is also a French window, with blue sky and white clouds seen in or through the glass; the green shrub is also a plant on the sill; the lines of the bridge are also the molding in the room; and—who knows?—the diagonals of the bank are also the easel on which this very painting was produced…
The remaining three installments will drop weekly into May.
* “The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science.” – Albert Einstein
###
As we appreciate art, we might recall that on this date in 1808, at the outbreak of the Peninsular War, the people of Madrid rose up in rebellion against French occupation.
In 1814, Francisco de Goya memorialized the event in his painting The Second of May 1808.
#art #artCriticism #artHistory #culture #Goya #HalFoster #history #Madrid #Matisse #Napoleon #PeninsularWar #TheChargeOfTheMamelukes #TheIgnorantArtHistorian #TheSecondOfMay1808 -
'A Nun Being Frightened By A Ghost Playing The Guitar' by Francisco Goya. The poor bloke really did go bonkers, didn't he? #PhantomsFriday #ghost #Goya #SpanishArt #artsky
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'A Nun Being Frightened By A Ghost Playing The Guitar' by Francisco Goya. The poor bloke really did go bonkers, didn't he? #PhantomsFriday #ghost #Goya #SpanishArt #artsky
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RE: https://mastodon.social/@publicdomainrev/116318200955412420
Happy birthday, Francisco de Goya (b. 3/30/1746)!
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When life gives you lemons, paint a demon: finding #solace in #Goya’s darkness: https://zorz.it/OnYJq
#GrittyGaloreMagazine #ArtGeek #FranciscoDeGoya #RoyalPortraitPainter #GhostlyVision #paintings #PradoMuseum #demon
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Premios Goya 2026: 40 años premiando el séptimo arte | #RollingStoneES
https://es.rollingstone.com/premios-goya-2026-40-anos-premiando-el-septimo-arte/
#barcelona #cine #cineytv #españa #goya #noticia #peliculas #premiosgoya #premiosgoya2026
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PREMIOS GOYA 2026, "LOS DOMINGOS· GANA LOS PREMIOS GORDOS.
La alfombra roja todavía estaba desplegándose cuando el ruido político empezó a colarse entre los focos. Antes incluso de que se entregara el primer galardón de los Premios Goya 2026, el presidente Pedro Sánchez conversaba brevemente con el periodista Carlos del Amor, en el habitual saludo previo que mezcla promoción cultural y…
https://nuevoimagenesdeactualidad.blogspot.com/2026/03/premios-goya-2026-los-domingos-gana-los.html
#cine #cinema #premiosgoya #goya -
Mañana todos a misa que es Los domingos #Goya
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Mañana todos a misa que es Los domingos #Goya
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Echemos un poco de pimienta a los #Goya: Juanma Bajo Ulloa estará en la Gala? Tal y como se despachó con sus compañeras y compañeros en el programa de Iker quizás se haya quedado en su atalaya 🫣
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El formato de los #Goya pide algo de renovación. La gala se hace larga, recurrente y mira demasiado a lo que ya hacen cada año, no? 40 años es una ocasión para un buen lifting y aligerar la carga de la edad
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A los vecinos de Cañada Real se les ha privado hoy, un día más, de seguir en la tele algo que les afecta: la salida de la oscuridad en los #Goya con el premio a uno de sus vecinos 💡
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A los vecinos de Cañada Real se les ha privado hoy, un día más, de seguir en la tele algo que les afecta: la salida de la oscuridad en los #Goya con el premio a uno de sus vecinos 💡
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#SusanSarandon nos va a dejar unos cuantos titulares de lo que es el compromiso ético y artístico en los #Goya 💪
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#SusanSarandon nos va a dejar unos cuantos titulares de lo que es el compromiso ético y artístico en los #Goya 💪
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No está mal que el presidente de los #Goya recuerde la vulneración de derechos y comunidades en el planeta, pero por quedarnos en casa también debería denunciar las políticas ultras que desde nuestro país buscan replicar esas ideas y tienen cada vez más eco
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Álvaro Cervantes gana en casa el #goya de mejor actor de reparto. Veremos si lo hace en familia con su hermana 🤞
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Álvaro Cervantes gana en casa el #goya de mejor actor de reparto. Veremos si lo hace en familia con su hermana 🤞
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Los #Goya elevan el rave a categoría de autor con la mejor música para Sirat
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Pena que Todos somos Gaza no se lleve el #Goya al mejor documental con lo que ha costado sacarlo adelante 😲
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i absolutely💙this!
i've written multiple stacks about boycotting & shopping blue, w/ different ideas on how to achieve that
This Danish app to identify products to avoid is brilliant
i've discussed creating websites or apps to identify & list blue vs fascist/appeaser businesses to help people spend💙
but this could help at the product level. eg, i don't buy maga #Goya products
Also, I wish House of El would join #Mastodon. Excellent analysis if you are not familiar
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Lleno de elementos románticos, entre Poe y Dickens diremos para situarnos con facilidad, El fantasma de la Quinta llena de sentimientos desbordados e irracionales la pantalla saliendo airoso, sabiendo manejarlos para que lleguen sin adueñarse del sentido de la historia. La narración siempre los sujeta y conduce. Su animación deliberadamente basta contrastando con el minimalismo del entorno, nada barroco, y el jugarse la narración a un solo personaje, en soliloquio interior podríamos decir -delirante, onomatopéyico, pero guiado por una voz narradora-, resultan un acierto de calado a la hora de jugar con las piezas controlando siempre el balance narrativo. Nada satura, se extraña o sobra. Empatizamos y acompañamos en el delirio creativo, y nos preguntamos si vale la pena vivir en el imperio de las pesadillas aun pasando después a la posteridad.
https://www.filmaffinity.com/es/film588679.html
https://www.youtube.com/watch?v=osJ9dPyz5e0
#popazo #cine #cinema #elfantasmadelaquinta #cortometraje #drama #movie #movies #film #filme #films #pelicula #premiosGoya2026 #premiosgoya #corto #short #shortmovie #art #cuadro #pintura #goya #franciscodegoya #animation #animacion -
Part of Captain bone Spurs MO is to keep a constant churn of outrage, but please do not forget the appeasers and boycott when possible. #boycott #goya #boycottgoya
Goya is one such brand. Literally hawked by trump and his cunty daughter. Please boycott Goya
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Lichtformspiel 1. I like the play with the light here. Although it is the same structure from top to bottom, the light changes the appearance of the elements. I noticed this on the outer face from a department store in #Madrid near #Goya.
https://lichtspiele.andreas-klingler.de/urban-geometry/Klingler_20251206_0048.jpg
#photography #art #minimalism #urbanphoto #minimalismo #structure
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@sundogplanets Here, have a painting by Francisco Goatya y’all!
