Foreign models

Francisco Goya(1746-1828) is painter of XVIII and XIX century who in Spain had success, but he had gone in Italy, in Rome between 1767 and 1771, for ended his cultural education, and he was also sharing in context in Parma, where he not winded but he had much recognition; but four years in Rome had determined for Goya much, is sufficient consider the models that Goya had certainly seen; same his painting had particular Italian reference, for his Christ in cross(Fig.1), certainly Goya had seen the same subject of Guido Reni(Fig.2), in Roman church of San Lorenzo in Lucina, same change is present but very little if we confront the painting; for his Visitation(Fig.2) Goya had seen to Pontormo(Fig.3), he perhaps gone to Parma and he can seen much painting of Pontormo and other Emilian painter; but major interest perhaps Goya had for technical painting, this is for brushstroke that seems took by a master of XVI century in Spain, this is El Greco(Figg.4-6), same brushstroke(Figg.7-8), confuse but well inherent to figure, same density and strong presence; then Goya had concluded his education on Italian painting, and he seen every model both in Rome and in Spain and took every necessary for his painting.

Alessandro Lusana

Modelli stranieri

Francisco Goya(1746-1828) è il pittore spagnolo, a cavallo fra il XVIII ed il XIX, secolo che ebbe maggior successo, venne anche in Italia fra il 1767 ed il 1771, e vi terminò la sua educazione figurativa, partecipò anche ad un concorso in Parma, che non vinse ma che gli riserbò notevoli apprezzamenti della giuria; ma quattro anni a Roma per Goya furono certamente determinanti, basti considerare qualche modello visto da Goya che poi lo stesso adottò per le sue opere, la Crocefissione(Fig.1), per la quale Goya vide al medesimo soggetto di Guido Reni(Fig.2), nella chiesa romana di San Lorenzo in Lucina, qualche modifica  nella composizione, ma davvero modesto, se confrontato con il modello; per la Visitazione(Fig.2) Goya vide al Pontormo, ma il maggior interesse  di Goya forse lo manifesta nella pennellata che riprende da un maestro del XVI secolo in Spagna, quindi El Greco(Figg.4-6); stessa pennellata(Figg.7-8), confusa ma ben inerente  alle figure, stessa densità e forte presenza, che Goya riprese; quindi Goya termina la sua educazione in sui pittori italiani e vede a modelli sia italiani che ispanici necessari per la sua pittura.

Alessandro Lusana  

 

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