1.
Aquatint
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Aquatint is an intaglio printmaking technique, a variant of etching. In intaglio printmaking, the artist makes marks on the plate that are capable of holding ink, the inked plate is passed through a printing press together with a sheet of paper, resulting in a transfer of the ink to the paper. This can be repeated a number of times, depending on the particular technique, like etching, aquatint uses the application of a mordant to etch into the metal plate. Where the engraving uses a needle to make lines that print in black. The rosin is acid resistant and typically adhered to the plate by controlled heating, the tonal variation is controlled by the level of mordant exposure over large areas, and thus the image is shaped by large sections at a time. Another tonal technique, mezzotint, begins with a surface that is evenly indented so that it will carry a fairly dark tone of ink. The mezzotint plate is then smoothed and polished to make areas carry less ink, alternatively, beginning with a smooth plate, areas are roughened to make them darker. Occasionally these two techniques are combined, the painter and printmaker Jan van de Velde IV invented the aquatint technique in Amsterdam, around 1650. The cartographer Peter Perez Burdett later introduced his secret aquatint technique to England in the 1770s, an aquatint requires a metal plate, an acid, and something to resist the acid. Traditionally copper or zinc plates were used, the artist applies a ground that will resist acid. Ground is applied by either dissolving powdered resin in spirits, applying the powder directly to the surface of the plate, in all forms of etching the acid resist is commonly referred to as the ground. An aquatint box is used to apply resin powder, the powder is at the bottom of the box, a crank or a bellows is used to blow the powder up into the air of the box. A window allows the engraver to see the density of flowing powder, when the powder covers the plate, it can be extracted from the box for the next operations. The plate is then heated, if the plate is covered with powder, the resin melts forming a fine and even coat, if it is in spirits, the spirits evaporate and the result is essentially the same. Now the plate is dipped in acid, producing an even, at this point, the plate is said to carry about a 50% halftone. This means that, were the plate printed with no further biting, at some point the artist will then etch an outline of any aspects of the drawing s/he wishes to establish with line, this provides the basis and guide for the later tone work. S/he may also have applied an acid-resistant stop out if s/he intends to keep any areas totally white and free of ink, the artist then begins immersing the plate in the acid bath, progressively stopping out any areas that have achieved the designed tonality. These tones, combined with the limited line elements, give aquatints a distinctive, also, aquatints, like mezzotints, provide ease in creating large areas of tone without laborious cross-hatching, but aquatint plates, it is noted, are generally more durable than mezzotint plates
2.
Etching
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Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
3.
Francisco Goya
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Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his career was a commentator. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns and he was also one of the great portraitists of modern times. He was born to a modest family in 1746 in the village of Fuendetodos in Aragon and he studied painting from age 14 under José Luzán y Martinez and moved to Madrid to study with Anton Raphael Mengs. He married Josefa Bayeu in 1773, the couples life together was characterised by an almost constant series of pregnancies and miscarriages, Goya was a guarded man and although letters and writings survive, little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him completely deaf, after 1793 his work became progressively darker and more pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels and he was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799 Goya became Primer Pintor de Cámara, the then-highest rank for a Spanish court painter, in the late 1790s, commissioned by Godoy, he completed his La maja desnuda, a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1801 he painted Charles IV of Spain and His Family, in 1807 Napoleon led the French army into Spain. Goya remained in Madrid during the Peninsular War, which seems to have affected him deeply. Although he did not vocalise his thoughts in public, they can be inferred from his Disasters of War series of prints and his 1814 paintings The Second of May 1808 and The Third of May 1808. Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, there he completed his La Tauromaquia series and a number of other, major, canvases. Following a stroke left him paralyzed on his right side. His body was later re-interred in Spain, Francisco Goya was born in Fuendetodos, Aragón, Spain, on 30 March 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. The family had moved that year from the city of Zaragoza, José was the son of a notary and of Basque origin, his ancestors being from Zerain, earning his living as a gilder, specialising in religious and decorative craftwork. He oversaw the gilding and most of the ornamentation during the rebuilding of the Basilica of Our Lady of the Pillar, Francisco was their fourth child, following his sister Rita, brother Tomás and second sister Jacinta. There were two sons, Mariano and Camilo. His mothers family had pretensions of nobility and the house, a modest brick cottage, was owned by her family and, perhaps fancifully, about 1749 José and Gracia bought a home in Zaragoza and were able to return to live in the city
4.
Superstition
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The word superstition is generally used to refer to the religion not practiced by the majority of a given society regardless of whether the prevailing religion contains superstitions. In the classical era, the existence of gods was actively debated both among philosophers and theologians, and opposition to superstition arose consequently, the poem De rerum natura, written by the Roman poet and philosopher Lucretius further developed the opposition to superstition. Cicero’s work De natura deorum also had a influence on the development of the modern concept of superstition as well as the word itself. Where Cicero distinguished superstitio and religio, Lucretius used only the term religio, Cicero, for whom superstitio meant “excessive fear of the gods” wrote that “superstitio, non religio, tollenda est ”, which means that only superstition, and not religion, should be abolished. The Roman Empire also made laws condemning those who excited excessive religious fear in others, during the Middle Ages, the idea of God’s influence on the world’s events went mostly undisputed. Trials by ordeal were quite frequent, even though Frederick II was the first king who explicitly outlawed trials by ordeal as they were considered “irrational”, the rediscovery of lost classical works and scientific advancement led to a steadily increasing disbelief in religions. This led to studies of biblical exegesis, pioneered by Spinoza, opposition to superstition was central to the Age of Enlightenment. The word superstition is first used in English in the 15th century, the earliest known use as an English noun occurs in Friar Daws Reply, where the foure general synnes are enumerated as Cediciouns, supersticions, þe glotouns, & þe proude. The French word, together with its Romance cognates continues Latin superstitio, while the formation of the Latin word is clear, from the verb super-stare, to stand over, stand upon, survive, its original intended sense is less clear. The earliest known use as a Latin noun occurs in Plautus, Ennius and later by Pliny, Cicero derived the term from superstitiosi, lit. Those who are left over, i. e. survivors, descendants, while Cicero distinguishes between religio and superstitio, Lucretius uses only the term religio. Throughout all of his work, he distinguished between ratio and religio. The use of the noun by Cicero and Horace thus predates the first attestation of the verb and it doesnt exclude that the verb might have been created and used after the name. The term superstitio, or superstitio vana vain superstition, was applied in the 1st century to those religious cults in the Roman Empire which were officially outlawed. This concerned the religion of the druids in particular, which was described as a superstitio vana by Tacitus, such fear of the gods was what the Romans meant by superstition. Diderots Encyclopédie defines superstition as any excess of religion in general, the Catechism is a defense against the accusation that Catholic doctrine is superstitious, Superstition is a deviation of religious feeling and of the practices this feeling imposes. It can even affect the worship we offer the true God, to attribute the efficacy of prayers or of sacramental signs to their mere external performance, apart from the interior dispositions that they demand is to fall into superstition. Cf. Matthew 23, 16–22 As discussed above, there is distinction between superstition and religion
5.
Anticlericalism
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Anti-clericalism is opposition to religious authority, typically in social or political matters. Historical anti-clericalism has mainly opposed to the influence of Roman Catholicism. Anti-clericalism is related to secularism, which seeks to remove the church from all aspects of public and political life, anarchist and Communist movements are anti-religion and anti-clerical, but not all anti-clericals are irreligious or anti-religion. Some have opposed clergy on the basis of corruption, institutional issues and/or disagreements in religious interpretation. Anti-clericalism became extremely violent during the French Revolution because revolutionaries believed the church had played a role in the systems of oppression which led to it. Many clerics were killed, and French revolutionary governments tried to control priests by making them state employees, anti-clericalism appeared in Catholic Europe throughout the 19th Century, in various forms, and later in Canada, Cuba, and Latin America. Various rumblings can be seen erupting from time to time in the Islamic world, during a two year period known as the Reign of Terror, the episodes of anti-clericalism grew more violent than any in modern European history. The new revolutionary authorities suppressed the church, abolished the Catholic monarchy, nationalized church property, exiled 30,000 priests, there has been much scholarly debate over whether the movement was popularly motivated. In April and May of 1794, the government mandated the observance of a festival of the Cult of the Supreme Being. When anticlericalism became a goal of French revolutionaries, counter-revolutionaries seeking to restore tradition. Locals often resisted de-Christianisation by attacking revolutionary agents and hiding members of the clergy who were being hunted, eventually, Maximilien Robespierre and the Committee of Public Safety were forced to denounce the campaign. On 12 July 1790 passed the law Civil Constitution of the Clergy that required all clerics to swear allegiance to it and, by extension, all but seven of the 160 bishops refused the oath, as did about half of the parish priests. Persecution of the clergy and of the faithful was the first trigger of the rebellion, nonjuring priests were exiled or imprisoned and women on their way to Mass were beaten in the streets. Religious orders were suppressed and Church property confiscated, when Pope Pius VI took sides against the revolution in the First Coalition, Napoleon Bonaparte invaded Italy. French troops imprisoned the Pope in 1797, and he died six weeks of captivity. After a change of heart, Napoleon then re-established the Catholic Church in France with the signing of the Concordat of 1801, when Napoleonic armies entered a territory, monasteries were often sacked and church property secularized. A further phase of anti-clericalism occurred in the context of the French Third Republic, prior to the 1905 French law on the Separation of the Churches and the State, the Catholic Church enjoyed preferential treatment from the French state. During the 19th century, public schools employed primarily priests as teachers, in 1881–1882 Jules Ferrys government passed the Jules Ferry laws, establishing free education and mandatory and lay education, giving the basis of French public education
6.
Age of Enlightenment
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The Enlightenment was an intellectual movement which dominated the world of ideas in Europe during the 18th century, The Century of Philosophy. In France, the doctrines of les Lumières were individual liberty and religious tolerance in opposition to an absolute monarchy. French historians traditionally place the Enlightenment between 1715, the year that Louis XIV died, and 1789, the beginning of the French Revolution, some recent historians begin the period in the 1620s, with the start of the scientific revolution. Les philosophes of the widely circulated their ideas through meetings at scientific academies, Masonic lodges, literary salons, coffee houses. The ideas of the Enlightenment undermined the authority of the monarchy and the Church, a variety of 19th-century movements, including liberalism and neo-classicism, trace their intellectual heritage back to the Enlightenment. The Age of Enlightenment was preceded by and closely associated with the scientific revolution, earlier philosophers whose work influenced the Enlightenment included Francis Bacon, René Descartes, John Locke, and Baruch Spinoza. The major figures of the Enlightenment included Cesare Beccaria, Voltaire, Denis Diderot, Jean-Jacques Rousseau, David Hume, Adam Smith, Benjamin Franklin visited Europe repeatedly and contributed actively to the scientific and political debates there and brought the newest ideas back to Philadelphia. Thomas Jefferson closely followed European ideas and later incorporated some of the ideals of the Enlightenment into the Declaration of Independence, others like James Madison incorporated them into the Constitution in 1787. The most influential publication of the Enlightenment was the Encyclopédie, the ideas of the Enlightenment played a major role in inspiring the French Revolution, which began in 1789. After the Revolution, the Enlightenment was followed by an intellectual movement known as Romanticism. René Descartes rationalist philosophy laid the foundation for enlightenment thinking and his attempt to construct the sciences on a secure metaphysical foundation was not as successful as his method of doubt applied in philosophic areas leading to a dualistic doctrine of mind and matter. His skepticism was refined by John Lockes 1690 Essay Concerning Human Understanding and his dualism was challenged by Spinozas uncompromising assertion of the unity of matter in his Tractatus and Ethics. Both lines of thought were opposed by a conservative Counter-Enlightenment. In the mid-18th century, Paris became the center of an explosion of philosophic and scientific activity challenging traditional doctrines, the political philosopher Montesquieu introduced the idea of a separation of powers in a government, a concept which was enthusiastically adopted by the authors of the United States Constitution. Francis Hutcheson, a philosopher, described the utilitarian and consequentialist principle that virtue is that which provides, in his words. Much of what is incorporated in the method and some modern attitudes towards the relationship between science and religion were developed by his protégés David Hume and Adam Smith. Hume became a figure in the skeptical philosophical and empiricist traditions of philosophy. Immanuel Kant tried to reconcile rationalism and religious belief, individual freedom and political authority, as well as map out a view of the sphere through private
7.
Modernism
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Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
8.
The Sleep of Reason Produces Monsters
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The Sleep of Reason Produces Monsters is an etching by the Spanish painter and printmaker Francisco Goya. Occasionally the phrase is rendered as “The dream of reason produces monsters”. Created between 1797 and 1799, it is the 43rd of 80 etchings making up the suite of satires Los Caprichos, Goya imagines himself asleep amidst his drawing tools, his reason dulled by slumber and bedeviled by creatures that prowl in the dark. The work includes owls that may be symbols of folly and bats symbolizing ignorance, the artists nightmare reflected his view of Spanish society, which he portrayed in the Caprichos as demented, corrupt, and ripe for ridicule. The work is held at the Metropolitan Museum of Art in New York and was the gift of M. Knoedler & Co. in 1918. The full epigraph for capricho No.43 reads, Fantasy abandoned by reason produces impossible monsters, united with her, she is the mother of the arts, the title of C. P. Snows The Sleep of Reason is drawn from this painting. Goya in the Metropolitan Museum of Art, New York, The Metropolitan Museum of Art. Goyas The Sleep of Reason Produces Monsters, nyu. edu, The Sleep of Reason The Sleep of Reason – article in World&I Magazine
9.
Museo del Prado
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The Prado Museum is the main Spanish national art museum, located in central Madrid. Founded as a museum of paintings and sculpture in 1819, it contains important collections of other types of works. El Prado is one of the most visited sites in the world, and it is considered one of the greatest art museums in the world. The collection currently comprises around 8,200 drawings,7,600 paintings,4,800 prints, and 1,000 sculptures, in addition to a large number of other works of art and historic documents. As of 2012, the museum displayed about 1,300 works in the buildings, while around 3,100 works were on temporary loan to various museums. The museum received 2.8 million visitors in 2012 and it is one of the largest museums in Spain. The best-known work on display at the museum is Las Meninas by Velázquez, Velázquez and his keen eye and sensibility were also responsible for bringing much of the museums fine collection of Italian masters to Spain, now the largest outside of Italy. The museum is planning a 16% extension in the nearby Salón de Reinos and their efforts and determination led to the Royal Collection being enriched by some of the masterpieces now to be seen in the Prado. In addition to works from the Spanish royal collection, other holdings increased and enriched the Museum with further masterpieces, such as the two Majas by Goya. Among the now closed museums whose collections have been added to that of the Prado were the Museo del la Trinidad in 1872, in addition, numerous legacies, donations and purchases have been of crucial importance for the growth of the collection. Upon the deposition of Isabella II in 1868, the museum was nationalized and acquired the new name of Museo del Prado, the building housed the royal collection of arts, and it rapidly proved too small. The first enlargement to the museum took place in 1918, particularly important donations include Barón Emile dErlangers gift of Goyas Black Paintings in 1881. Between 1873 and 1900, the Prado helped decorate city halls, new universities, during the Second Spanish Republic from 1931 to 1936, the focus was on building up provincial museums. The art had to be returned across French territory in night trains to the museum upon the commencement of World War II, during the early years of the dictatorship of Francisco Franco, many paintings were sent to embassies. The main building was enlarged with short pavilions in the rear between 1900 and 1960, in 1993, an extension proposed by the Prados director at the time, Felipe Garin, was quickly abandoned after a wave of criticism. In the late 1990s, a $14 million roof work forced the Velázquez masterpiece Las Meninas to change galleries twice, in 1998, the Prado annex in the nearby Casón del Buen Retiro closed for a $10 million two-year overhaul that included three new underground levels. In 2007, the finally executed Rafael Moneos project to expand its exposition room to 16,000 square meters. A glass-roofed and wedge-shaped foyer now contains the shops and cafeteria
