Francisco de Goya
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Mit Murillo war die klassische Zeit der spanischen Kunst vorüber. Die Maler des Jahrhunderts nach seinem Tode (1682) sind Epigonen, die vom gro en Erbe der Vergangenheit zehren, um schlie lich in den Manierismus zu verfallen, der das allgemeine Kennzeichen dieser Epoche bildet. Von einer nationalen Richtung konnte nicht mehr die Rede sein, noch von Leistungen, die einen Platz in der Weltgeschichte der Kunst beanspruchen durften. Aber wie Italien, das den gleichen künstlerischen Niedergang, nur Jahrzehnte früher, zeigt, durch Tiepolo eine Nachblüte und die Erinnerung an den alten Glanz der venezianischen Malerei erlebt, so ersteht auch der spanischen Kunst gerade in der Zeit ihres kläglichsten Tiefstandes, wie vom Himmel gefallen, noch einmal ein nationaler Meister, der sich, obwohl ganz anders geartet, den gro en Vorgängern würdig an die Seite stellt: Francisco de Goya. Goya war eine der vielseitigsten, begabtesten, eigenartigsten und problematischsten Künstlernaturen, die die Welt in den Jahrtausenden ihrer Entwicklung gesehen hat. Sein Lebenswerk umfa t über 1.400 Nummern, die sich gleichmä ig auf die verschiedensten Zweige künstlerischer Betätigung und auf fast alle denkbaren Gebiete verteilen: Andachtsbilder mit biblischen und legendären Stoffen, Wandmalereien, kirchliche und weltliche, Historienbilder aus der Vergangenheit und Gegenwart, Portraits jeder Art und Gattung, Gruppen- und Einzelbildnisse, intime Charakterköpfe und dekorative Repräsentationsstücke, Mythologien, Allegorien, Genredarstellungen, miniaturartig durchgeführte neben gewaltigen Impressionen, Tierbilder und Stilleben. [...] Dieses Buch ist ein Nachdruck der historischen Originalausgabe von 1907 mit 144 Abbildungen. Der Verlag der Wissenschaften verlegt historische Literatur bekannter und unbekannter wissenschaftlicher Autoren. Dem interessierten Leser werden so teilweise längst nicht mehr verlegte Werke wieder zugängig gemacht.
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