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Umbrella
Francisco Goya • Painting, 1777, 104×152 cm
Description of the artwork «Umbrella»
"Umbrella" – decorative panels of Francisco Goya, presented in Madrid's Prado, which served as a sketch for a tapestry.
"Santa Barbara" – is not only endless American soap Opera. In Spain of the XVIII century, also called Royal carpet factory – manufacture "Santa Barbara" (or, to put it simply, the factory of Santa Barbara). "Coincidence? Don't think," it's tempting to make a joke, especially since the task both of Santa Barbara were about the same: for a long time to make people beautiful and also nice, fun and interesting. The Spanish "Santa Barbara" for this purpose is produced tapestries – large lint-free carpets with cheerful stories and full of grace charismatic characters. Such tapestries could take up almost the entire wall and they love to decorate not only private houses but the king's chambers. Royal manufactory, for example, produced tapestries that decorated the room of the Escorial.
A tapestry factory and got a job as hotels in the late eighteenth century in Madrid from Zaragoza, the young artist Francisco Goya (to be fair – he came back, and under the patronage of Francisco Bayeux court painter and older brother of Goya's wife Josefa). Goya's task was to create drawings based on which "Santa Barbara" will weave tapestries. What stories can you come here?
By the way, in France around the same time or slightly before the tapestry factory was headed by a colleague of Goya – famous painter Francois Boucher. Themes for tapestries were chosen idyllic: the French it was frolicking in the lap of nature, shepherds and shepherdesses, Spain characters tapestries were also people from the common people – macho and manolas. Maho is the representatives of the Spanish urban poor, cheerful, energetic and vital. They are ready at any moment to grab the knife, not fools to drink and is rather criminalized (like all social "lower classes") and at the same time remain the keepers of national traditions. Their passionate friends is called "Mahi" (hence the name of the famous paintings by Goya "The Nude Maha", "Maha dressed"). "Mahi" – women of easy temper, and the same rules that distinguishes them from the "manolas" – decent girls strict rules, a sort of "noble Mach", however, as reckless confidence in their own irresistibility.
In the time of Goya image Maho, Maha, and manolas was extremely popular. Their national costumes were so expressive, bright and beautiful that even the aristocratic women of the noble families, loved from time to time, especially during the carnivals and social events, dressing up in a folk spirit. It was fashionable, and in the current political situation also helped to preserve national identity. A special dedication to the Spanish national costume differed notorious Duchess of Alba. On the growth Goya's portraits she, the aristocrat, just dressed in a Spanish folk style (1, 2).
Only Goya had completed not less than sixty monumental-decorative panels that serve as sketches for tapestry manufacture. They are distinguished by their amazing, can not be represented in the future work of Goya sparkling vitality, diversity and richness of the palette. Goya passionately created a happy utopia "natural man" based on deeply popular images and world – images of the environment from which he emerged himself.
The cartoons Goya was nearly lost. After creating sketches of tapestries on the basis of which was made tapestries, was not needed. Goya himself, whose early period the researchers call "tapestry", not very fond of these works, believing that they can do better, and was not going to keep them. The cartoons were forgotten and for a time their location was not known. In 1860 they were accidentally discovered in a basement and transferred to the Prado.
"Umbrella" is one of the most cheerful and beautiful of cartoons by Goya. It depicts a young manolas, sitting on the grass with a small dog on her lap. The day is Sunny, and that beauty is not burned, it helpfully covers the umbrella of young Maho in a velvet suit and a head scarf, which, along with wide-brimmed hats, used to wear the young Spaniard.
The relatively small format of the work indicates that, most likely, it was placed above the window. Pyramidal composition with figures in the foreground, and the use of resonant colours and an expressive play of light and shadow indicates the influence of the Italian classical painting to the works of Goya (indeed, just before starting work at the Royal manufactory Goya travelled to Italy and even managed to get there the second prize at the Parma Academy of fine arts).
This tapestry was designed for the dining room of the Prince and Princess of Asturias (future Charles IV and his wife Maria Louisa of Parma) in the Escorial. "Umbrella" is part of the decorative series of ten cartoons depicting rural types and scenes of folk life, among which "Dance on the banks of the Manzanares", "Masquerade in Andalusia", "The fight at the Venta Nueva", "Kite" etc.
Author: Anna Yesterday
Fascinating "Santa Barbara"
"Santa Barbara" – is not only endless American soap Opera. In Spain of the XVIII century, also called Royal carpet factory – manufacture "Santa Barbara" (or, to put it simply, the factory of Santa Barbara). "Coincidence? Don't think," it's tempting to make a joke, especially since the task both of Santa Barbara were about the same: for a long time to make people beautiful and also nice, fun and interesting. The Spanish "Santa Barbara" for this purpose is produced tapestries – large lint-free carpets with cheerful stories and full of grace charismatic characters. Such tapestries could take up almost the entire wall and they love to decorate not only private houses but the king's chambers. Royal manufactory, for example, produced tapestries that decorated the room of the Escorial.
A tapestry factory and got a job as hotels in the late eighteenth century in Madrid from Zaragoza, the young artist Francisco Goya (to be fair – he came back, and under the patronage of Francisco Bayeux court painter and older brother of Goya's wife Josefa). Goya's task was to create drawings based on which "Santa Barbara" will weave tapestries. What stories can you come here?
By the way, in France around the same time or slightly before the tapestry factory was headed by a colleague of Goya – famous painter Francois Boucher. Themes for tapestries were chosen idyllic: the French it was frolicking in the lap of nature, shepherds and shepherdesses, Spain characters tapestries were also people from the common people – macho and manolas. Maho is the representatives of the Spanish urban poor, cheerful, energetic and vital. They are ready at any moment to grab the knife, not fools to drink and is rather criminalized (like all social "lower classes") and at the same time remain the keepers of national traditions. Their passionate friends is called "Mahi" (hence the name of the famous paintings by Goya "The Nude Maha", "Maha dressed"). "Mahi" – women of easy temper, and the same rules that distinguishes them from the "manolas" – decent girls strict rules, a sort of "noble Mach", however, as reckless confidence in their own irresistibility.
In the time of Goya image Maho, Maha, and manolas was extremely popular. Their national costumes were so expressive, bright and beautiful that even the aristocratic women of the noble families, loved from time to time, especially during the carnivals and social events, dressing up in a folk spirit. It was fashionable, and in the current political situation also helped to preserve national identity. A special dedication to the Spanish national costume differed notorious Duchess of Alba. On the growth Goya's portraits she, the aristocrat, just dressed in a Spanish folk style (1, 2).
The cartoons Goya for "Santa Barbara"
Only Goya had completed not less than sixty monumental-decorative panels that serve as sketches for tapestry manufacture. They are distinguished by their amazing, can not be represented in the future work of Goya sparkling vitality, diversity and richness of the palette. Goya passionately created a happy utopia "natural man" based on deeply popular images and world – images of the environment from which he emerged himself.
The cartoons Goya was nearly lost. After creating sketches of tapestries on the basis of which was made tapestries, was not needed. Goya himself, whose early period the researchers call "tapestry", not very fond of these works, believing that they can do better, and was not going to keep them. The cartoons were forgotten and for a time their location was not known. In 1860 they were accidentally discovered in a basement and transferred to the Prado.
Tapestry By Goya "The Parasol"
"Umbrella" is one of the most cheerful and beautiful of cartoons by Goya. It depicts a young manolas, sitting on the grass with a small dog on her lap. The day is Sunny, and that beauty is not burned, it helpfully covers the umbrella of young Maho in a velvet suit and a head scarf, which, along with wide-brimmed hats, used to wear the young Spaniard.
The relatively small format of the work indicates that, most likely, it was placed above the window. Pyramidal composition with figures in the foreground, and the use of resonant colours and an expressive play of light and shadow indicates the influence of the Italian classical painting to the works of Goya (indeed, just before starting work at the Royal manufactory Goya travelled to Italy and even managed to get there the second prize at the Parma Academy of fine arts).
This tapestry was designed for the dining room of the Prince and Princess of Asturias (future Charles IV and his wife Maria Louisa of Parma) in the Escorial. "Umbrella" is part of the decorative series of ten cartoons depicting rural types and scenes of folk life, among which "Dance on the banks of the Manzanares", "Masquerade in Andalusia", "The fight at the Venta Nueva", "Kite" etc.
Author: Anna Yesterday
