The Death of Beauty

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist tradition founded on the pursuit of a transcendent world of nobility, harmony and beauty—an ideal world outside of which, as Malraux writes, ‘man did not fully merit the name man’. Following the illness that left him deaf for life—an encounter with ‘the irremediable’, to borrow Malraux's term—Goya developed an art of a fundamentally different kind—an art, Malraux writes, ruled by ‘the unity of the prison house’, which replaced transcendence with a pervasive ‘feeling of dependence’ and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, and created semi-clandestinely, the etchings and black paintings are an early announcement of the death of beauty in Western art

Aesthetics · Art · Art history · Beauty · Humanism · Italian Renaissance · Literature · Nobility · Painting · Politics · The Renaissance · Theology · Art History and Market Analysis · Historical Art and Culture Studies · Philosophy · Photography and Visual Culture

• Goya

  Nicholas Orsini, Fred Licht•Leonardo•1982

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