Francisco Goya and Court Arts in the second half of the 18^<th> century Spain

这项研究证实了18^世纪后半期西班牙宫廷艺术的趋势<th>，即卡洛斯三世（1759-1788）和卡洛斯四世（1788-1808）统治期间的宫廷艺术趋势。卡洛斯三世下令对马德里的新皇家宫殿进行内部装修，该宫殿于1764年完工，并扩建了阿兰于兹、埃尔帕尔多和埃尔埃斯科里亚的宫殿。继续前进，卡洛斯四世下令在每一座皇家宫殿建造小型但精致的别墅。随着近年来研究的进展，人们已经认识到在卡洛斯四世统治下存在着许多宫廷艺术家，并且需要对有关该时期宫廷艺术的通常接受的理论进行修订。我对这些小别墅进行了研究，2003年访问了阿兰于兹的Casa del Labrador，2004年访问了埃尔埃斯科里亚的Casita del Principe，和El Pardo的Casita del Principe。通过这些访问，我认识到卡洛斯四世所追求的宫廷艺术 ...更多信息 与他的父亲卡洛斯三世的大型建筑项目相比，这些建筑都是小规模的，更精致的，高度完成的形式。此外，宫廷画家的数量从卡洛斯三世统治时期的7人增加到卡洛斯四世统治时期的26人，特别注意到他的宫廷雇用了许多专攻特定流派的画家。弗朗西斯科戈亚（1746-1828）在1790年代，除了为佛罗里达的圣安东尼奥教堂的天花板绘画外，他没有收到任何来自皇家的委托。1798年和1799年的一对国王和王后以及马背上的玛丽亚·路易莎的肖像。戈亚根本没有参与18世纪90年代宫殿的装饰，而当代宫廷画家巴约和马埃拉则参与了。因此，我们不能把戈亚看作是18世纪90年代卡洛斯四世最喜爱的成功画家。我在《从提香到戈亚的展览目录》中的“戈亚和波旁王朝时期西班牙宫廷艺术的发展”中讨论过这个问题。普拉多博物馆杰作展，大都会美术馆，东京，2006年。少

This research confirms the trends in court arts during the latter half of the 18^<th> century Spain, or during the Reign of Carlos III (1759-1788) and the Reign of Carlos IV (1788-1808). Carlos III commissioned the interior decoration of the new Royal Palace in Madrid, which had been completed in 1764, and the expansion of the palaces at Aranjuez, El Pardo and El Escorial. Continuing on, Carlos IV commissioned the building of small, but exquisitely refined villas at each of the royal palaces. As in recent years research has advanced, there has been recognition of the existence of many court artists under the reign of Carlos IV, and a need for revision of normally accepted theories regarding the court arts of the period.I did research on these small villas, visitng the Casa del Labrador of Aranjuez in 2003, the Casita del Principe of El Escorial in 2004, and the Casita del Principe of El Pardo in 2005, respectively. I recognized by these visits that the courtly arts sought by Carlos IV … More were small-scale, more refined, highly finished forms, compared to the large-scale architectural projects of his father Carlos III. Besides the number of court painters increased from 7 under the reign of Carlos III to 26 under the reign of Carlos IV, with special note to the fact that his court employed numerous painters who speicialized in specific genres.Francisco Goya (1746-1828) did not receive any commission from the royal household during 1790s except the ceiling paintings for the church of San Antonio de la Florida in 1798 and a pair of portraits of the king and queen and Maria Luisa on Horseback in 1799. Goya was not involved at all in the decoration of the palaces in the 1790s, while contemporary court painters Bayeu and Maella were. Thus we can not consider Goya as a successful and favorite painter of Carlos IV in 1790s. I argued the question in "Goya and the Development of Court Arts in Bourbon Spain", in the Exhibition Catalogue From Titian to Goya. Museo del Prado Masterpieces, Metropolitan Art Museum, Tokyo, in 2006. Less