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Robert Hughes, who has stunned us with comprehensive works on

subjects as sweeping and complex as the history of Australia (The

Fatal Shore), the modern art movement (The Shock of the New), the

nature of American art (American Visions), and the nature of

America itself as seen through its art (The Culture of Complaint),

now turns his renowned critical eye to one of art history’s most

compelling, enigmatic, and important figures, Francisco José de

Goya y Lucientes. With characteristic critical fervor and sure-eyed

insight, Hughes brings us the story of an artist whose life and

work bridged the transition from the eighteenth-century reign of

the old masters to the early days of the nineteenth-century

moderns.

With his salient passion for the artist and the

art, Hughes brings Goya vividly to life through dazzling analysis

of a vast breadth of his work. Building upon the historical

evidence that exists, Hughes tracks Goya’s development, as man and

artist, without missing a beat, from the early works commissioned

by the Church, through his long, productive, and tempestuous career

at court, to the darkly sinister and cryptic work he did at the end

of his life.

In a work that is at once interpretive

biography and cultural epic, Hughes grounds Goya firmly in the

context of his time, taking us on a wild romp through Spanish

history; from the brutality and easy violence of street life to the

fiery terrors of the Holy Inquisition to the grave realities of

war, Hughes shows us in vibrant detail the cultural forces that

shaped Goya’s work.

Underlying the exhaustive, critical

analysis and the rich historical background is Hughes’s own

intimately personal relationship to his subject. This is a book

informed not only by lifelong love and study, but by his own recent

experiences of mortality and death. As such this is a uniquely

moving and human book; with the same relentless and fearless

intelligence he has brought to every subject he has ever tackled,

Hughes here transcends biography to bring us a rich and fiercely

brave book about art and life, love and rage, impotence and death.

This is one genius writing at full capacity about another—and the

result is truly spectacular.

Acknowledgments

I Driving into Goya

2  Goya’S B eginnings

3  Coming to the City

4  From’lhpestry to Silence

5  Witches and Angel s

6  The Caprich0．f

7  The Fall of the Bourbons

8  War with Napoleon

9  The Restoration

IO  Exile in France

Nores

Bibliography

lndPY

Robert Studley Forrest Hughes, AO was an Australian art critic, writer and television documentary maker who has resided in New York since 1970. He was educated at St Ignatius' College, Riverview before going on to study arts and then architecture at the University of Sydney. At university, Hughes associated with the Sydney "Push" – a group of artists, writers, intellectuals and drinkers. Among the group were Germaine Greer and Clive James. Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. Around this time he wrote a history of Australian painting, titled The Art of Australia, which is still considered to be an important work. It was published in 1966. Hughes was also briefly involved in the original Sydney version of Oz magazine, and wrote art criticism for The Nation and The Sunday Mirror.

Hughes left Australia for Europe in 1964, living for a time in Italy before settling in London, England (1965) where he wrote for The Spectator, The Daily Telegraph, The Times and The Observer, among others, and contributed to the London version of Oz. In 1970 he obtained the position of art critic for TIME magazine and he moved to New York. He quickly established himself in the United States as an influential art critic.In 1975, he and Don Brady provided the narration for the film Protected, a documentary showing what life was like for Indigenous Australians on Palm Island.

In 1980, the BBC broadcast The Shock of the New, Hughes's television series on the development of modern art since the Impressionists. It was accompanied by a book of the same name; its combination of insight, wit and accessibility are still widely praised. In 1987, The Fatal Shore, Hughes's study of the British penal colonies and early European settlement of Australia, became an international best-seller.

Hughes provided commentary on the work of artist Robert Crumb in parts of the 1994 film Crumb, calling Crumb "the American Breughel". His 1997 television series American Visions reviewed the history of American art since the Revolution. He was again dismissive of much recent art; this time, sculptor Jeff Koons was subjected to criticism. Australia: Beyond the Fatal Shore (2000) was a series musing on modern Australia and Hughes's relationship with it. Hughes's 2002 documentary on the painter Francisco Goya, Goya: Crazy Like a Genius, was broadcast on the first night of the BBC's domestic digital service. Hughes created a one hour update to The Shock of the New. Titled The New Shock of the New, the program aired first in 2004. Hughes published the first volume of his memoirs, Things I Didn’t Know, in 2006.

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书籍介绍

Robert Hughes, who has stunned us with comprehensive works on subjects as sweeping and complex as the history of Australia ( The Fatal Shore ), the modern art movement ( The Shock of the New ), the nature of American art ( American Visions ), and the nature of America itself as seen through its art ( The Culture of Complaint ), now turns his renowned critical eye to one of art history’s most compelling, enigmatic, and important figures, Francisco José de Goya y Lucientes. With characteristic critical fervor and sure-eyed insight, Hughes brings us the story of an artist whose life and work bridged the transition from the eighteenth-century reign of the old masters to the early days of the nineteenth-century moderns.

With his salient passion for the artist and the art, Hughes brings Goya vividly to life through dazzling analysis of a vast breadth of his work. Building upon the historical evidence that exists, Hughes tracks Goya’s development, as man and artist, without missing a beat, from the early works commissioned by the Church, through his long, productive, and tempestuous career at court, to the darkly sinister and cryptic work he did at the end of his life.

In a work that is at once interpretive biography and cultural epic, Hughes grounds Goya firmly in the context of his time, taking us on a wild romp through Spanish history; from the brutality and easy violence of street life to the fiery terrors of the Holy Inquisition to the grave realities of war, Hughes shows us in vibrant detail the cultural forces that shaped Goya’s work.

Underlying the exhaustive, critical analysis and the rich historical background is Hughes’s own intimately personal relationship to his subject. This is a book informed not only by lifelong love and study, but by his own recent experiences of mortality and death. As such this is a uniquely moving and human book; with the same relentless and fearless intelligence he has brought to every subject he has ever tackled, Hughes here transcends biography to bring us a rich and fiercely brave book about art and life, love and rage, impotence and death. This is one genius writing at full capacity about another—and the result is truly spectacular.

From the Hardcover edition.