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Goya's Graphic Work and Engravers'Training at the Royal Academy in the late 18th century in Spain

戈雅的平面作品与18世纪末西班牙皇家学院的雕刻师培训

基本信息

批准号：
08610065
负责人：
KINOSHITA Akira
金额：
$ 0.45万
依托单位：
SHOWA WOMEN'S UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1996
资助国家：
日本
起止时间：
1996 至 1997
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-08610065/
关键词：
Francisco Goya Etchings in Spain Aquatint

项目摘要

In 1799, Francisco Goya published the etchings series, The Caprichos, using new grapfic techniques aquatint with distinguished effects. Nevertheless, in spite of its important position in European Prints, there have not been many studies on The Caprichos referring to the graphic tradition in Spain. Above all, how Goya learned the use of aquatint has not been explained clearly yet.The reporter, through the research at the Calcografia Nacional and the Biblioteca Nacional in Madrid, will clarify how the new technique aquatint was introduced in Spain.We can point out, for the moment, three contradictory facts :1.Bartolome Sureda is said to be the man who showed aquatint for the first time in Spain in 1797 after returning from London. There is a strong possibility that he taught Goya the use of aquatint.2.Jose Ximeno, Goya's comtemporary engraver, produced the magnificient etchings using aquatint in 1790.3.Goya also applied aquatint though not so skillfully, in the etchings after paintings of Velazquez, probably in early 1780's. These Goya's etchings could be the earliest examples of a graphic work with aquatint in Spain. It so, from the point of innovative graphic techniques, the etchings after Velazquez's paintings should be interpretated as a highly ambitious work equivalent to The Caprichos.

1799年，弗朗西斯科戈亚出版了蚀刻系列《摩羯座》，使用了新的书写技术，效果显著。然而，尽管《随想曲》在欧洲版画中占有重要地位，但对于西班牙版画传统的研究却不多。最重要的是，戈亚是如何学会使用水彩画的，至今还没有解释清楚。记者将通过在马德里的Calcografia Nacional和Biblioteca Nacional的研究，阐明水彩画这一新技术是如何传入西班牙的。目前，我们可以指出三个相互矛盾的事实：1.据说巴托洛梅·苏雷达是1797年从伦敦返回西班牙后第一次展示水彩画的人。1790年，戈亚的当代雕刻师何塞·希梅诺（Jose Ximeno）用水彩画制作了这幅壮丽的蚀刻画。3.戈雅在委拉斯开兹（Velazquez）的画作之后的蚀刻画中也使用了水彩画，尽管不那么熟练，可能是在18世纪80年代初。这些戈亚的蚀刻画可能是西班牙最早的铜版画作品。因此，从创新的图形技术的角度来看，Velazquez绘画后的蚀刻应该被解释为相当于Caprichos的高度雄心勃勃的工作。