Francisco Goya Essays (530 words) - Court Painters, Francisco Goya

Francisco Goya His name, Francisco Goya, born in 1746, one of Spains most innovative painters and etchers; also one of the triumvirateincluding El Greco and Diego Vel?zquezof great Spanish masters. Much in the art of Goya is derived from that of Vel?zquez, just as much in the art of the 19th-century French master ?douard Manet and the 20th-century genius Pablo Picasso is taken from Goya. Trained in a mediocre rococo artistic milieu , Goya transformed this often frivolous style and created works, such as the famous The third of May, 1808, that have as great an impact today as when they were created Goya was born in the small Aragonese town of Fuendetodos (near Zaragoza) on March 30, 1746. His father was a painter and a gilder of altarpieces, and his mother was descended from a family of minor Aragonese nobility. Facts of Goya's childhood are scarce. He attended school in Zaragoza at the Escuelas Pias. Goya's formal artistic education commenced when, at the age of 14, he was apprenticed to a local master, Jos? Luzan, a competent although little-known painter in whose studio Goya spent four years. In 1763 the young artist went to Madrid, where he hoped to win a prize at the Academy of San Fernando. Although he did not win the desired award, he did make the acquaintance of Francisco Bayeu, an artist also from Arag?n, who was working at the court in the academic manner imported to Spain by the German painter Anton Raphael Mengs. Bayeu (the brother of Goya's wife) was influential in forming Goya's early style and was responsible for his participation in an important commission, the fresco decoration of the Church of the Virgin in El Pilar in Zaragoza. In 1771 Goya went to Italy for approximately one year. His activity there is relatively obscure; he spent some months in Rome and also entered a composition at the Parma Academy competition, in which he was successful. Returning to Spain about 1773, Goya participated in several other fresco projects, including that for the Charterhouse of Aula Dei, near Zaragoza, in 1774, where his paintings prefigure those of his greatest fresco project, executed in the Church of San Antonio de la Florida, Madrid, in 1798. It was at this time that Goya began to do prints after paintings by Vel?zquez, who would remain, along with Rembrandt, his greatest source of inspiration. By 1786 Goya was working in an official capacity for King Charles III, the most enlightened Spanish monarch of the 18th century. Goya was appointed first court painter in 1799. His tapestry cartoons executed in the late 1780s and early 1790s were highly praised for their candid views of everyday Spanish life. With these cartoons Goya revolutionized the tapestry industry, which, until that time, had slavishly reproduced the Flemish genre scenes of the 17th-century painter David Teniers. Some of Goya's most beautiful portraits of his friends, members of the court, and the nobility date from the 1780s. Works such as Marquesa de Pontejos show that Goya was then painting in an elegant manner somewhat reminiscent of the style of his English contemporary Thomas Gainsborough. Arts Essays

Ancient Egyptians Played a Board Game Called 58 Holes

Ancient Egyptians Played a Board Game Called 58 Holes The 4,000-year-old board game 58 Holes is also called Hounds and Jackals, the Monkey Race, the Shield Game, and the Palm Tree Game, all of which refer to the shape of the game board or the pattern of the peg holes in the face of the board. As you might guess, the game consists of a board with a track of fifty-eight holes (and a few grooves), in which players race a pair of pegs along the route. It is thought to have been invented in Egypt around 2200 B.C. It flourished during the Middle Kingdom, but died out in Egypt after that, around 1650 B.C. Around the end of the third millennium B.C., 58 Holes spread into Mesopotamia and maintained its popularity there until well into the first millennium B.C. Playing 58 Holes The ancient game 58 Holes most closely resembles the modern childrens game known as Snakes and Ladders in Britain and Chutes and Ladders in the United States. In 58 Holes, each player is given five pegs. They begin at the starting point to move their pegs down the center of the board and then up their respective sides to the endpoints. The lines on the board are the chutes or ladders that allow the player to quickly advance or to just as quickly fall behind. Ancient boards are generally rectangular to oval and sometimes shield or violin-shaped. The two players throw dice, sticks, or knucklebones to determine the number of places they can move, marked on the game board by elongated pegs or pins. The name Hounds and Jackals comes from the decorative shapes of the playing pins found at Egyptian archaeological sites. Rather like Monopoly tokens, one players peg head would be in shape of a dog, the other in that of a jackal. Other forms discovered by archaeologists include pins shaped liked monkeys and bulls. The pegs that been retrieved from archaeological sites were made of bronze, gold, silver, or ivory. It is quite likely that many more existed, but were made of perishable materials such as reeds or wood. Cultural Transmission Versions of Hounds and Jackals spread into the near east shortly after its invention, including Palestine, Assyria, Anatolia, Babylonia, and Persia. Archaeological boards were found in the ruins of Assyrian merchant colonies in Central Anatolia dating as early as the 19th and 18th centuries B.C. These are thought to have been brought by Assyrian merchants, who also brought writing and cylinder seals from Mesopotamia into Anatolia. One route along which the boards, writing, and seals might have traveled is the overland route that would later become the Royal Road of the Achaemenids. Maritime connections also facilitated international trade. There is strong evidence that 58 Holes was traded throughout the Mediterranean region and beyond. With such widespread distribution, its normal that a considerable amount of local variation would exist. Different cultures, some of which were enemies of the Egyptians at the time, adapted and created new imagery for the game. Certainly, other artifact types are adapted and changed for use in local communities. The 58 Holes gameboards, however, seem to have maintained their general shapes, styles, rules, and iconography - no matter where they were played. This is somewhat surprising, because other games, such as chess, were widely and freely adapted by the cultures that adopted them. The consistency of form and iconography in 58 Holes may be a result of the complexity of the board. Chess, for example, has a simple board of 64 squares, with the movement of the pieces dependent on largely unwritten (at the time) rules. Gameplay for 58 Holes depends strictly on the board layout. Trading Games The discussion of cultural transmission of game boards, in general, is currently of considerable scholarly research. The recovery of game boards with two different sides - one a local game and one from another country - suggest that the boards were used as a social facilitator to enable friendly transactions with strangers in new places. At least 68 gameboards of 58 Holes have been found archaeologically, including examples from Iraq (Ur, Uruk, Sippar, Nippur, Nineveh, Ashur, Babylon, Nuzi), Syria (Ras el-Ain, Tell Ajlun, Khafaje), Iran (Tappeh Sialk, Susa, Luristan), Israel (Tel Beth Shean, Megiddo, Gezer), Turkey (Boghazkoy, Kultepe, Karalhuyuk, Acemhuyuk), and Egypt (Buhen, Thebes, El-Lahun, Sedment). Sources Crist, Walter. Board Games in Antiquity. Anne Vaturi, Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, Springer Nature Switzerland AG, August 21, 2014. Crist, Walter. Facilitating Interaction: Board Games as Social Lubricants in the Ancient Near East. Alex de Voogt, Anne-Elizabeth Dunn-Vaturi, Oxford Journal of Archaeology, Wiley Online Library, April 25, 2016. De Voogt, Alex. Cultural transmission in the ancient Near East: twenty squares and fifty-eight holes. Anne-Elizabeth Dunn-Vaturi, Jelmer W.Eerkens, Journal of Archaeological Science, Volume 40, Issue 4, ScienceDirect, April 2013. Dunn-Vaturi, Anne-E. The Monkey Race - Remarks on Board Games Accessories. Board Games Studies 3, 2000. Romain, Pascal. Les reprà ©sentations des jeux de pions dans le Proche-Orient ancien et leur signification. Board Game Studies 3, 2000.