The Spanish painter Francisco Goya (1746-1828) indeed resembles Beethoven in the monochrome self-portrait he immortalized sometime between 1795 and 1797, now at the Metropolitan Museum of Art in New York City. The stern countenance framed by the lion-like mane hairstyle strikes a chord with the composer’s genius and untamed madness. Each man by then was becoming deaf. Withdrawing steeply into their inner worlds, the monsters that reason creates while asleep tormented them both beyond description.
Goya’s line strokes here, in ink wash on paper, had already acquired that trademark interest in structuring form after the castings of light and shade. He had buttressed his jagged upbringing in the modernity of Titian, Rembrandt and, above all, Velázquez, followed by the expected study stint in Italy. After landing by chance an internship at the newly built royal court in Madrid, he soon found in Nature a style that undressed better than any schooling the rather tickled flesh and spirit of his beloved Spain. Then, in 1808, the French invaded the country.
The Absolute War
The ailing Goya, who had intermittently sought solace in his idyllic vignettes of Spanish life, would become the chief visual chronicler on the disasters of a new warfare concept—the absolute war—that blew into world-scale dimensions the spatial geometry of human conduct. Its absoluteness strove on the extent into which it refashioned the “representations of space and the spaces of representation” (Santiáñez) while operating in the Spanish Monarchy, specifically, a drawback from the original tenets that inspired the French Revolution.
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