goya: the black paintings

“Im­pris­oned in a tomb of si­lence, Goya dis­tanced him­self from so­ci­ety, be­com­ing bit­ter and in­creas­ing­ly oc­cu­pied with his own anx­i­eties and fan­tasies … His ear­li­er por­tray­als of ter­ror and vi­o­lence, pale in com­par­i­son to the Black Paint­ings. Not only be­cause Goya pro­ceed­ed his time by ex­plor­ing the hu­man psy­che, but be­cause he did not in­tend for the im­ages to be made pub­lic. Goya was able to ex­plore these themes of sor­row, pathos and pan­ic with com­plete free­dom. This is what makes Goya the first mod­ernist of his time.”
—The Dark­est Paint­ing Se­ries in the World
 

Though far from them now in time and space, I still can’t quite shake the im­pact of these paint­ings.

Like noth­ing I’ve ever ex­pe­ri­enced. Pri­mor­dial­ly dis­con­cert­ing. I guess I didn’t re­al­ize paint­ings could stir quite that deep in the pot.

Makes Bosch’s Hell (which I adore) look like an awk­ward but in­ter­est­ing par­ty.

The re­pro­duc­tions do them no jus­tice.
The thought of liv­ing, deaf, sur­round­ed by those im­ages paint­ed on the walls is just plain scary.

 

On the tip of a glo­be­trot­ting friend,
we have here in Madrid:
Lun­cheon at el restau­rante mas An­tiguo del Mun­do,
con­tin­u­al­ly open since 1725.

At some point,
for some length of time,
Goya did the dish­es here.

At some point,
for some length of time,
we were here and ate way too much.

Oof!
 
 

—lau­ra hohlwein

Flom­mist Lau­ra Hohlwein is a con­tem­po­rary ab­stract sur­re­al­ist. Copy­right © 2018 Lau­ra Hohlwein.

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