Goya Chronicler Of War The Disasters And War Photography
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| Author | : Francisco Goya |
| Publisher | : Bright Sparks |
| Total Pages | : 252 |
| Release | : 2009 |
| Genre | : Art |
| ISBN | : |
"In the prints of The Disasters Goya compliled a collection of the horrors of the Spanish Peninsular War again Napoleon's troops (1808-14). But his condemnation is impartial, alternately critical of the cruelty on both sides, and this is why his etchings have become a pacifist discourse that is timeless in its scope. These images are the artist's first banging on the table in protest, and they speak directly to our consciences. The way Goya represented war is far removed from any idea of heroism and has few precedents in the history of art. His vehemence is certainly unique, however, Goya placed his genius in the service of a cause which had no impact on the society of his time. His opinions, full of intelligent doubts and mixed feelings, remained etched on those prints like a condemnation of war. The object of this exhibition is to project Goya's condemnation forward to our time. And his indignation has been best captured by certain war photographers. Through their dangerous work many of them have constructed a discourse which echoes Goya's view as applied to our own shameful conflicts.' ... p. 17
| Author | : Francisco Goya |
| Publisher | : Bright Sparks |
| Total Pages | : 252 |
| Release | : 2009 |
| Genre | : Art |
| ISBN | : |
"In the prints of The Disasters Goya compliled a collection of the horrors of the Spanish Peninsular War again Napoleon's troops (1808-14). But his condemnation is impartial, alternately critical of the cruelty on both sides, and this is why his etchings have become a pacifist discourse that is timeless in its scope. These images are the artist's first banging on the table in protest, and they speak directly to our consciences. The way Goya represented war is far removed from any idea of heroism and has few precedents in the history of art. His vehemence is certainly unique, however, Goya placed his genius in the service of a cause which had no impact on the society of his time. His opinions, full of intelligent doubts and mixed feelings, remained etched on those prints like a condemnation of war. The object of this exhibition is to project Goya's condemnation forward to our time. And his indignation has been best captured by certain war photographers. Through their dangerous work many of them have constructed a discourse which echoes Goya's view as applied to our own shameful conflicts.' ... p. 17
| Author | : Centro Atlántico de Arte Moderno |
| Publisher | : Cabildo de Gran Canaria Centro Atlantico de Arte Moderno |
| Total Pages | : 548 |
| Release | : 2010 |
| Genre | : Art museums |
| ISBN | : |
Esta publicación, que celebra las dos décadas de vida del CAAM, recoge retazos de la activadad desarrollada por el museo durante estos años tomados de su propio patrimonio autorreferencial, es decir, textos ya editados en diversos soportes y que configuran parte del archivo de la memoria de este Centro de Arte. El libro consta de los capítulos: "Introducción", una breve valoración histórica del Centro; "El discurso cartográfico", sobre el relato de los responsables institucionales; "Un contenedor para una travesía atlántica", en torno a la valoración inaugural del proyecto arquitectónico de Sáenz de Oíza; "Narrativas de exploración artística", en torno al pensamiento curatorial; "Laboratorio crítico de contextos", sobre el debate crítico suscitado en el Centro; "Revista Atlántica, el prodigio de la interrogación", en torno a las contribuciones de las solventes voces críticas de la revista; y "El viaje en prospectiva", una hoja de ruta que inserta al CAAM en el siglo XXI.
| Author | : Susan Sontag |
| Publisher | : Farrar, Straus and Giroux |
| Total Pages | : 146 |
| Release | : 2013-10-01 |
| Genre | : Social Science |
| ISBN | : 1466853573 |
A brilliant, clear-eyed consideration of the visual representation of violence in our culture--its ubiquity, meanings, and effects. Considered one of the greatest critics of her generation, Susan Sontag followed up her monumental On Photography with an extended study of human violence, reflecting on a question first posed by Virginia Woolf in Three Guineas: How in your opinion are we to prevent war? "For a long time some people believed that if the horror could be made vivid enough, most people would finally take in the outrageousness, the insanity of war." One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. But are viewers inured—or incited—to violence by the depiction of cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of others far away? First published more than twenty years after her now classic book On Photography, which changed how we understand the very condition of being modern, Regarding the Pain of Others challenges our thinking not only about the uses and means of images, but about how war itself is waged (and understood) in our time, the limits of sympathy, and the obligations of conscience.
| Author | : Steven Miller |
| Publisher | : Fordham Univ Press |
| Total Pages | : 297 |
| Release | : 2014-03-03 |
| Genre | : Literary Criticism |
| ISBN | : 0823256804 |
War after Death considers forms of violence that regularly occur in actual wars but do not often factor into the stories we tell about war, which revolve invariably around killing and death. Recent history demonstrates that body counts are more necessary than ever, but the fact remains that war and death is only part of the story—an essential but ultimately subordinate part. Beyond killing, there is no war without attacks upon the built environment, ecosystems, personal property, artworks, archives, and intangible traditions. Destructive as it may be, such violence is difficult to classify because it does not pose a grave threat to human lives. Nonetheless, the book argues that destruction of the nonhuman or nonliving is a constitutive dimension of all violence—especially forms of extreme violence against the living such as torture and rape; and it examines how the language and practice of war are transformed when this dimension is taken into account. Finally, War after Death offers a rethinking of psychoanalytic approaches to war and the theory of the death drive that underlies them.
| Author | : Antonio Cazorla-Sanchez |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 521 |
| Release | : 2023-11-30 |
| Genre | : History |
| ISBN | : 1350230413 |
In 25 innovative thematic essays, The Bloomsbury Handbook of the Spanish Civil War sees an interdisciplinary team of scholars examine a conflict that, more than 80 years after its conclusion, continues to generate both scholarly and public controversy. Split into four main sections covering Military and Diplomatic Issues, Society and Culture, Politics, and Debates, the volume offers a number of unique features. It is unprecedented in its comprehensiveness and includes chapters on topics that are rarely, if ever, explored in the literature of the field: humanitarianism, children and families, material conditions, the decimation of elites, archives and sources, archaeological approaches, digital approaches, public history, and cultural studies approaches. Instead of discussing each of the two warring sides, Republicans and Francoists, separately, as is so often the case, the book's thematic structure means that these opposing forces are examined together, facilitating comparison and fresh understanding in numerous areas of study. Contributors from the UK, the USA, Canada, Spain and Denmark also analyse the major controversies and disputes surrounding each topic as part of a detailed exploration of one of the seminal events of the 20th century.
| Author | : Gertje Utley |
| Publisher | : Yale University Press |
| Total Pages | : 292 |
| Release | : 2000-01-01 |
| Genre | : Biography & Autobiography |
| ISBN | : 0300082517 |
The fact that Picasso joined the French Communist Party in 1944 and remained a loyal member to the end of his long life presents puzzling contradictions. How can the image of him as a protean genius be reconciled with his membership in a repressive political organization that maintained an authoritarian hold on its artistic community and all but obliterated the freedom of the creative mind? How could the creator of Guernica, lauded at that time as the champion of civilian victims of totalitarian aggression, support the policies of the Soviet Union? This stimulating book is the first comprehensive examination of Picasso’s political commitment, his motivations to join the French Communist Party, and his contributions as an active member. Gertje R. Utley assesses the impact communism had on the artist’s life and explores how Picasso’s political beliefs and the doctrines of the Communist Party affected his artistic production. Utley provides the first account in English of the intricate relations between the French Communist Party and its artists in the years immediately following the Liberation. She then examines in detail the role Picasso played within the Communist agenda, his financial and moral support, his active participation at Party events, and his artistic endorsement of the Party’s most important ideological positions during the Cold War years. Addressing Picasso’s unfailing loyalty in the face of both the Party’s untenable political positions and the opposition within the Party to his art, this book offers new insight into aspects of the artist’s thought and art that have been little considered before.
| Author | : Mohammed Omer |
| Publisher | : Haymarket Books |
| Total Pages | : 305 |
| Release | : 2015-11-30 |
| Genre | : Political Science |
| ISBN | : 1608465144 |
Operation Protective Edge, launched in early July 2014, was the third major Israeli assault on the Gaza Strip in six years. It was also the most deadly. By the conclusion of hostilities some seven weeks later, 2,200 of Gaza’s population had been killed, and more than 10,000 injured. In these pages, journalist Mohammed Omer, a resident of Gaza who lived through the terror of those days with his wife and then three-month-old son, provides a first-hand account of life on-the-ground during Israel’s assault. The images he records in this extraordinary chronicle are a literary equivalent of Goya’s “Disasters of War”: children’s corpses stuffed into vegetable refrigerators, pointlessly because the electricity is off; a family rushing out of their home after a phone call from the Israeli military informs them that the building will be obliterated by an F-16 missile in three minutes; donkeys machine-gunned by Israeli soldiers under instructions to shoot anything that moves; graveyards targeted with shells so that mourners can no longer tell where their relatives are buried; fishing boats ablaze in the harbor. Throughout this carnage, Omer maintains the cool detachment of the professional journalist, determined to create a precise record of what is occurring in front of him. But between his lines the outrage boils, and we are left to wonder how a society such as Israel, widely-praised in the West as democratic and civilized, can visit such monstrosities on a trapped and helpless population.
| Author | : Andrew Causey |
| Publisher | : Phaidon Press |
| Total Pages | : 292 |
| Release | : 1985 |
| Genre | : Art |
| ISBN | : |
Overzicht avan het werk van de Engelse kunstenaar.
| Author | : Michael Iarocci |
| Publisher | : University of Toronto Press |
| Total Pages | : 385 |
| Release | : 2022-12-01 |
| Genre | : Art |
| ISBN | : 1487543794 |
Widely acknowledged as a major turning point in the history of visual depictions of war, Francisco de Goya’s renowned print series The Disasters of War remains a touchstone for serious engagement with the violence of war and the questions raised by its artistic representation. The Art of Witnessing provides a new account of Goya’s print series by taking readers through the forty-seven prints he dedicated to the violence of war. Drawing on facets of Goya’s artistry rarely considered together before, the book challenges the notion that documentary realism and historical testimony were his primary aims. Michael Iarocci argues that while the depiction of war’s atrocities was central to Goya’s project, the lasting power of the print series stems from the artist’s complex moral and aesthetic meditations on the subject. Making novel contributions to longstanding debates about historical memory, testimony, and the representation of violence, The Art of Witnessing tells a new story, print by print, to highlight the ways in which Goya’s masterpiece extends far beyond conventional understandings of visual testimony.
