Primitive datum 4_1781: GOYA S CASE

Size: px

Start display at page:

Download "Primitive datum 4_1781: GOYA S CASE"

Brittney Francis
8 years ago
Views:

1 Primitive datum 4_1781: GOYA S CASE Primitive datum 4_1781: GOYA'S CASE is a video installation, featured in the midst of theatre, cinema and video character which brings to mind an episode that took place at the street Coso, 11 in Zaragoza, on April 12, 1781, therefore, in a specific spot and date. The spectator observes from the adjoining room, how Francisco de Goya, enraged and offended, analyses the progress of his act of creation and refuses any sort of meddling in his work, commissioned by the Junta de Fábrica of the Basilica of the Pillar in Zaragoza: the painting in the dome Regina Martyrum. Goya demands freedom for his work, or else he would be disowning his dignity as an artist, thus accepting his refusal to his talent [Passage struck out in the drafts of the Memorial within the manuscript Letters and Papers of Goya, kept at the Library of Fundación Lázaro Galdiano in Madrid].

The spectator observes from the adjoining room, how Francisco de Goya, enraged and offended, analyses the progress of his act of creation and refuses any sort of meddling in his work, commissioned by

2 Primitive datum 4_1781: GOYA S CASE Goya and the Regina Martyrum dome of the Pillar of Zaragoza. In May 1780, the Junta de Fábrica del Pilar -the Technical Commission of the Pillardecided to continue the decoration of the domes around the Holy Chapel of the Pillar, and on May 23 of that same year, it was agreed to delegate on Francisco de Goya and Ramón Bayeu 1, the paintings of the domes still not decorated, and their scallops, under Francisco Bayeu's supervision, whom previously painted two vaults, Regina Santorum Omnium and Regina Angelorum. This date is relevant in the career of Goya since it motivated both a longing commission for him, and his return to Zaragoza months later. Francisco de Goya and Ramón Bayeu submitted their projects outline, along with other ones by Francisco Bayeu projected for two of the domes, during the meeting of the Junta de Fábrica on October 5, 1780, which deemed the projects as been carried out with the greatest care. Goya started working, but it was not long before when the disagreements arose due to Bayeau's demand for an aesthetic homogenisation in the pictorical decoration of the temple, whilst Goya with the approval of his sketches, believed he would not comply with any of his corrections or supervision. The confrontation between them instigated Bayeau to write a requirement to the Junta, demanding his exemption and dismission to carry out the project, and assign it to his brother-in-law. It was during the meeting on December 14 when this Junta de Fabrica agreed on the Manager of the Fabrica to visit frequently Mr. Francisco de Goya and his paintings, in order to warn him of any possible inaccurancy. Tensions increased when Goya submitted in the Sala Capitular of the Temple of Pillar, on March 10, 1781, the sketches with the virtues of Faith, Strength, Charity and Patience, intended for the four scallops, matching with the painting already made of Regina Martyrum placed in front of the chapel of San Joaquín. The members of the Junta de Fábrica did not approve the sketches, as reveals the letter of Matías de Allué, dated just one day after. In addition they expressed the discontent of the public with the paintings from the semicicular dome and their regret to a new censure, stance which was made known to Francisco Bayeu. Juan Antonio Yeves Andrés 1 Goya painted the Regina Martyrum, the three other paintings belong to Ramón Bayeu: Regina Confessorum, Regina Virginum and Regina Patriarcharum.

year, it was agreed to delegate on Francisco de Goya and Ramón Bayeu 1, the paintings of the domes still not decorated, and their scallops, under Francisco Bayeu's supervision, whom previously

3 Primitive datum 4_1781: GOYA'S CASE is a video installation, featured in the midst of theatre, cinema and video character which brings to mind an episode that took place at the street Coso, 11 in Zaragoza, on April 12, 1781, therefore, in a specific spot and date. The spectator observes from the adjoining room, how Francisco de Goya, enraged and offended, analyses the progress of his act of creation and refuses any sort of meddling in his work, commissioned by the Junta de Fábrica of the Basilica of the Pillar in Zaragoza: the painting in the dome Regina Martyrum. Goya demands freedom for his work, or else he would be disowning his dignity as an artist, thus accepting his refusal to his talent [Passage struck out in the drafts of the Memorial within the manuscript Letters and Papers of Goya, kept at the Library of Fundación Lázaro Galdiano in Madrid]. In Primitive datum 4_1781: Goya's Case, Goya talks with his friend Martín Zapater, who advices him to address a letter to Matías Allué, executive of the Fábrica of the Pillar. After discussing with Zapater, while he persevers on defending the creative painter facing toward the idea of a mere commissioned painter, Goya follows the advices of his good friend, and humbles himself to the changes imposed by the Junta... Montserrat Soto.

4 Credits of the video installation Authors_ Montserrat Soto y Áurea Martínez Production_ Ministerio de Educación, Cultura y Deporte Documentation_ Montserrat Soto Screenplay and direction_ Áurea Martínez Cast_ Jorge Asín como Francisco de Goya Gabriel Moreno como Martín Zapater Director of Photography_ José Carlos Ruiz Assistant camera and audio operator_ José Luis Calvo Makeup and Hair Stylist_ Virginia Maza Martínez Costume_ Arantxa Ezquerro Props_ Juan Antonio del Campo Gunsmith_ Julio Ferrer Montage_ Áurea Martínez y Montserrat Soto Editing and post-production_ José Carlos Ruiz Cantarero y Montserrat Soto Length_ 10minutss and 25 seconds Video projector_ Video HD 1080i Acknowledgements_ Juan Antonio Yeves / María José Moreno / José María Viñuela / Mariano y Antoni López Fernández de Heredia Izquierdo. Palacio de Bureta. Pueblo de Orcajo

Stylist_ Virginia Maza Martínez Costume_ Arantxa Ezquerro Props_ Juan Antonio del Campo Gunsmith_ Julio Ferrer Montage_ Áurea Martínez y Montserrat Soto Editing and post-production_ José Carlos Ruiz

5 Primitive datum 4_1781: GOYA S CASE. Images

7 Primitive datum 4_1781: GOYA S CASE. Catalogue Edits_ SECRETARÍA GENERAL TÉCNICA. Subdirección General de Publicaciones, Información y Documentación. Ministerio de Cultura NIPO: ISBN: Texts_ Montserrat Soto Áurea Martínez Juan Antonio Yeves Andrés Photographs_ Archivo fotográfico Museo Nacional del Prado. Madrid Antonio Ceruelo Fundación Lázaro Galiano. Madrid José Garrido José Carlos Ruiz Design_ LEONA Printing_ Julio Soto

Ministerio de Cultura NIPO: 551-09-135-8 ISBN: 978-84-8181-424-8 Texts_ Montserrat Soto Áurea Martínez Juan

8 Primitive datum 4_1781: GOYA S CASE. More information Primitive datum 4_1781: GOYA S CASE Contacts PROMOCIÓN DEL ARTE Ministerio de Educación, Cultura y Deporte promocionarte@mecd.es #PromociondelArte

html Contacts PROMOCIÓN DEL ARTE Ministerio de Educación, Cultura y Deporte http://www.mcu.es/promoarte/index.

9 CONDITIONS REPORT FOR TRAVELLING EXHIBITIONS EXHIBITION TITLE PRIMITIVE DATUM 4_1781: GOYA'S CASE. EXHIBITION PRODUCTION Ministerio de Educación, Cultura y Deporte. Secretaría de Estado de Cultura. Dirección General de Bellas Artes y Bienes Culturales y de Archivos y Bibliotecas. Subdirección General de Promoción de las Bellas Artes TECHNICAL DATA OF THE EXHIBITION Video installation. Doble synchronised projection. Technical needs: 2 HD projectors, Full HD, 3000 lumens minimum. Two projections are reproduced at the same time: one of them is 5 metres long, projected from 4-5 metres distance. The second image is projected with the vertical projector. 4 audio independent outlets -two for each projector-. HQ Amplifiers and speakers. The materials must saved in Bluray format 1080 or in Files H film in DVD with a 30 minutes length. INSTALLATION: Rooms with no exterior light. Door system: doors close at the beginning of each reproduction. The central wall should be minimum 7 metres long intended to project the main image. The walls are painted in dark grey, and the space where the projection is placed: 50% grey. Black carpet on the floor, to retain the sound effect. It is required a person controlling the limit capacity of public at the entrance and exit.

Doble synchronised projection. Technical needs: 2 HD projectors, Full HD, 3000 lumens minimum.

10 CONDITIONS OF PARTICIPATION EXPENSES COVERED BY THE MINISTERIO DE EDUCACIÓN, CULTURA Y DEPORTE. Production. Coordination. Insurance. EXPENSES COVERED BY THE INSTITUTION HOLDING THE EXHIBITION: Fees intended for the curators of the exhibition Montserrat Soto and Áurea Martínez: 1000 eu. p.e -taxes included-. Travel, accommodation, and daily allowance intended for the curators, during the installation period and official opening. Installation. Vinyl graphic production. Surveillance and security officers service. Copyright. Catalogue of the exhibition: - In order to get a copy please contact with the Servicio de Distribución y Venta, from the Secretaría General Técnica, Subdirección General de Publicaciones, Informatión y Documentación of the Ministry of Education, Culture and Sport of Spain, in charge of the edition of the catalogue: Tomy Lorenzo C/ Abdón Terradas, nº Madrid Tel Fax: tomy.lorenzo@mecd.es Catalogue price: 18 euros (VAT included). NOTE: Once an exhibition application has been accepted, a subsequent collaboration Agreement will be signed between the Ministerio de Educación, Cultura y Deporte and the institution where the exhibition will be held.

Travel, accommodation, and daily allowance intended for the curators, during the installation period and official opening. Installation. Vinyl graphic production.

TECHNICAL INTEROPERABILITY STANDARD

TECHNICAL INTEROPERABILITY STANDARD For Document Digitisation. GOBIERNO DE ESPAÑA MINISTERIO DE HACIENDA Y ADMINISTRACIONES PÚBLICAS SECRETARÍA DE ESTADO DE ADMINISTRACIONES PÚBLICAS DIRECCIÓN GENERAL