Lecture. Virginia Albarrán Goya's Drawings as a Means to an End. The 1937 Reprint of Goya’s Engravings

26 Jan 2017
Garage Auditorium
Lecture. Virginia Albarrán Goya's Drawings as a Means to an End. The 1937 Reprint of Goya’s EngravingsLecture. Virginia Albarrán Goya's Drawings as a Means to an End. The 1937 Reprint of Goya’s Engravings


Madrid University lecturer and Prado Museum researcher Virginia Albarrán discusses a variety of different, at times contradictory, interpretations of Francisco Goya’s paintings, drawings and engravings, and looks at how his work has been used to support various ideas throughout the centuries.

Today, we have got used to treating works by great artists as projections of our own beliefs and ideas. We envisage the artist as a liberal or a believer, a Francophile or a patriot, an intellectual or a member of the ruling class, a noble man or a man of the people, a supporter or a critic of bullfights. Goya in particular, is often discussed as a chronicler of his time, while the role of artistic tradition in his works is neglected. Many of his images have become icons and are constantly brought up in non-artistic discussions and reinterpreted. Goya’s work has influenced artists throughout centuries: from Édouard Manet to Jake and Dinos Chapman, including masters like Pablo Picasso, Salvador Dalí, James Ensor and Carlos Saura among others. In Proof, Goya’s works are presented alongside, and in a dialogue with drawings by one of his admirers, Robert Longo. The reprint of engravings, presented in the show, was made in 1937 by the Spanish Republic, which had no scruples about using the artist’s work as a political tool.


Virginia Albarrán is a researcher at Prado Museum, 18th Century Painting and Goya Department, and holds a PhD in Art History from Complutense University of Madrid. She is a recipient of the Eleanor M. Garvey Fellowship in Printing and Graphic Arts, granted by the Houghton Library at Harvard University (Cambridge, Massachusetts), and the Research Fellowship of the City of Madrid. She has taken part in the preparation of several exhibitions, including Lights and Shadows. Masterpieces of the Museo del Prado, at the National Museum of Western Art in Tokyo (2011); Bartolomé Esteban Murillo (1617–1682). Drawings at Botín Foundation Exhibition Room in Santander (2012); Captive Beauty at Prado Museum, Madrid, and Mitsubishi Ichigokan Museum, Tokyo (2013–2015); Goya in Madrid: The Tapestry Cartoons at Prado Museum, Madrid (2014) and Goya and Zaragoza (1746-1775). His Aragonese Roots, Goya Museum of Ibercaja Collection, Zaragoza (2015).  Virginia Albarrán is the author of several studies. The main focus of her research is Spanish painting of the 18th century.


how to take part

Free admission with advance registration.

The lecture is in Spanish with simultaneous translation into Russian.


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