![\"comicos](\"https:\/\/realgoya.com\/wp-content\/uploads\/comicos_ambulantes_realgoya.jpg\")
<\/p>\n\u00bfEra Goya un disfrutador de la vida? Parece que s\u00ed, que efectivamente disfrutaba de la caza, de los toros, de la vida y sus placeres en general puesto que en alg\u00fan momento lleva una conducta de cortesano bastante disipada, es cierto, pero ni m\u00e1s ni menos fr\u00edvola, en principio, que lo acostumbrado en una posici\u00f3n social p\u00fablica como la suya. Por tanto, si su car\u00e1cter era tambi\u00e9n \u00e9ste, habr\u00e1 que convenir que tiene raz\u00f3n Robert Hugues cuando afirma que Goya \u201cera adem\u00e1s un epic\u00fareo convencido, puesto que sabemos que le apasionaba todo lo sensorial: el olor de una naranja o de la axila de una ni\u00f1a, el aroma del tabaco y el regusto del vino, el ritmo palpitante de un baile callejero, el juego de luces sobre el tafet\u00e1n, el muar\u00e9, el simple algod\u00f3n; el arrebol expandi\u00e9ndose en el cielo de una tarde estival o el p\u00e1lido brillo de la culata de nogal finamente tallada de una escopeta. ”
\nY que como tal disfrutador, en su epicure\u00edsmo practicaba una doctrina de un paganismo t\u00edpicamente laico y mediterr\u00e1neo, pr\u00e1ctico pero ligero, que buscaba sobre todo procurar el sosiego necesario para una vida feliz y placentera en la que los temores al destino, los dioses o la muerte quedaran definitivamente eliminados. Al fin y al cabo Epicuro propon\u00eda la realizaci\u00f3n de la vida buena y feliz y las relaciones amistosas entre sus correligionarios, lo que te\u00f3ricamente es un equilibrio perfecto entre la mente y el cuerpo que proporciona la serenidad o ataraxia.<\/p>\n
<\/p>\n
C\u00f3micos ambulantes<\/i><\/b>, 1794 (detalle)\u00a0 <\/i>Madrid, Museo del Prado<\/p>\n
Pero Goya no era siempre as\u00ed, aunque ciertamente lo manifiesta con toda claridad en momentos muy concretos de su vida, como cuando ya en la cincuentena env\u00eda una carta a su gran amigo Mart\u00edn Zapater entre el 12 y el 25 de diciembre de 1797, en la que muestra efusiva y gr\u00e1ficamente la gratitud de un grupo de amigos a Mart\u00edn Zapater por su invitaci\u00f3n a bebida, comida y a un balc\u00f3n en la muy distra\u00edda Plaza Mayor de Madrid, con motivo de haber sido premiado en los sorteos del Real Empr\u00e9stito.<\/p>\n
La carta dice as\u00ed:<\/p>\n
Poderosissimo, generosissimo, y esplendidisimo Se\u00f1or Don![\"carta](\"https:\/\/realgoya.com\/wp-content\/uploads\/carta_zapater_realgoya.jpg\")
\nCarta a Zapater, <\/i><\/b>entre 12 y 25 Diciembre 1797<\/i><\/p>\n
<\/i>Adornan la carta dos dibujos. Uno, de una figura femenina de perfil (Nicolasa L\u00e1zaro) que en la carta alaba el pastel de carne o huevos que le hab\u00eda tocado. Y otro una figura de espaldas, a cuatro patas en el suelo y mostrando ostentosamente su trasero desnudo. Tal y como afirma el propio Museo del Prado, propietario de la carta, \u201cSe ha visto siempre como una figura de mujer, pero es en realidad masculina, por las formas musculosas de las nalgas, los muslos rectos y, sobre todo, el sexo que se aprecia bien entre las piernas. Tambi\u00e9n el peinado lo indica, seg\u00fan la moda del pueblo de fines del siglo XVIII, con el pelo recogido en la parte de atr\u00e1s como con redecilla, o su atuendo, con la camisa blanca levantada sobre la espalda y sus calzones bajados, descritos con rapidez en la l\u00ednea horizontal que cruza los muslos, as\u00ed como en los grandes y bastos zapatos. Zapater, el \u00fanico espectador de la carta, debi\u00f3 de comprender el significado de la broma de sus amigos, tanto si hac\u00eda referencia, por ejemplo, al op\u00fasculo de Francisco de Quevedo, no sabemos si muy conocido entonces, de Gracias y desgracias del ojo del culo. Era un periodo en el que Goya hab\u00eda estado especialmente interesado en el escritor espa\u00f1ol, cuyos Sue\u00f1os inspiraron sus Caprichos.\u201d<\/p>\n
Nada predispone mejor para el buen humor como una buena bodega y una cocina m\u00e1s o menos delicada. Ciertamente, la descrita no era una comida diplom\u00e1tica en Viena, sino que los comensales, sueltos de lengua y pluma como resultas del vino, son gentes que parecen poco acostumbradas a lindezas, aunque s\u00ed son todos de muy buen diente. Y en la carta se respira n\u00edtidamente que aquello fue tambi\u00e9n, como dir\u00eda Julio Camba, una juerga, una romer\u00eda, un d\u00eda de jolgorio y de bullanga en el que nuestro protagonista se organiz\u00f3 su d\u00eda con los amigos dispuesto a comer, beber, cantar y bailar hasta el l\u00edmite de su resistencia f\u00edsica. Semejante banquete es tambi\u00e9n el homenaje al generoso amigo en cuyo transcurso no hay s\u00f3lo arte: hay una emoci\u00f3n sincera y cordial, que es la emoci\u00f3n del sol, de la sangre y del peligro, y hay tambi\u00e9n mujeres hermosas, con las frescas y encendidas mejillas tocadas por la mantilla cl\u00e1sica. Ya s\u00f3lo falta, si algo ciertamente faltara, un buen puro y una siesta, ya que falla la corrida de toros, muy deseable para Goya pero imposible en el mes de diciembre madrile\u00f1o.<\/p>\n
Gonzalo de DiegoWas Goya an enjoyer of life? It seems that yes, that he actually enjoyed hunting, bullfighting, life and its pleasures in general as sometime takes a courtly conduct quite dissipated, is true, but neither more nor less frivolous, in principle, than usual in a public social position such as his. Therefore, if his character was also this, will have to agree that Robert Hugues is right when he says that Goya “was also a convinced epicurean, since we know that he loved all the sensory: the smell of an orange or the armpit of a girl, the aroma of tobacco and the aftertaste of wine, the pulsating rhythm of a street dance, the play of light on the taffeta, the moir\u00e9, the simple cotton; the glow to expand on a summer evening sky or the pale glow of the finely carved walnut butt of a shotgun.\u201d
\nAnd that as such enjoyer in his Epicureanism practiced a doctrine of a typically secular and Mediterranean paganism, practical but light, that sought above all to ensure the necessary calm for a happy and pleasant life in which fears of fate, the gods or death were definitely eliminated. In the end Epicurus proposed the realization of good and happy life and the friendly relations between their co-religionists, which theoretically is a perfect balance between mind and body that provides serenity or ataraxia.<\/p>\n
<\/p>\n
The touring comedians,<\/i> <\/b>1794 <\/b>(detalle) <\/i>\u00a0Madrid, Prado Museum<\/p>\n
But Goya was not always like this, although certainly he states quite clearly in very specific moments of his life, as when already in his fifties sends a letter to his friend Mart\u00edn Zapater between 12th and 25th December 1797, which shows effusive and graphically the gratitude of a group of friends to Mart\u00edn Zapater for his invitation to drink, food and a balcony in the very distracted Plaza Mayor of Madrid, due to have been awarded in the tosses of the Real Loan.<\/p>\n
The letter reads as follows:<\/p>\n
Powerful, very generous and splendid Lord Don Mart\u00edn Zapater.<\/p>\n
Letter to Zapater, <\/i><\/b>between 12th and 25th December 1797<\/i><\/p>\n
Two drawings decorate the letter. One, of an outline female figure (Nicolasa L\u00e1zaro) that in the letter praises the cake of meat or eggs that had eaten. And the other is a figure on its back, on its fours on the floor and ostentatiously displaying its naked bottom. As it says the Prado Museum, owner of the letter, “It has always been seen as a figure of a woman, but is actually male, due to the muscular forms of the buttocks, straight thighs and, above all, sex can be seen well between the legs. Also the hairstyle implies, according to the fashion of the town at the end of the 18th century, with hair collected in the back as with a snood, or the outfit, with the white shirt lifted on the back and the panties down, described swiftly in the horizontal line that crosses the thighs, as well as in the large and coarse shoes. Zapater, the only viewer of the letter, must have understood the meaning of his friends joke, both if were referred, for example, the tract of Francisco de Quevedo, don’t know if well known then, Fortunes and Misfortunes of the Eye in the Ass. It was a period in which Goya had been especially interested in the Spanish writer, which Dreams inspired his Caprichos.”<\/p>\n
Nothing predisposes better for good humour as a good wine cellar and a kitchen more or less delicate. Certainly, this described was not a diplomatic lunch in Vienna, but diners, free for tongue and pen as a result of wine, are people who look like non accustomed to niceties, though they have all very good discerning palate. And through the letter clearly breaths that it was also, as Julio Camba would say, a spree, a pilgrimage, a day of revelry and riot in which our protagonist was planned his day with friends willing to eat, drink, sing and dance to the limit of his endurance. This feast is also a tribute to the generous friend in which course there is not only art: there is a sincere and cordial emotion, that is the excitement of the Sun, the blood and the danger, and there are also beautiful women, with fresh and burning cheeks touched by classic mantle Just need yet, if something certainly missing, a good cigar and a nap, since is missing the bullfight, highly desirable for Goya but impossible in Madrid\u2019s December.<\/p>\n
Gonzalo de Diego<\/p>\n","protected":false},"excerpt":{"rendered":"
\u00bfEra Goya un disfrutador de la vida? Parece que s\u00ed, que efectivamente disfrutaba de la caza, de los toros, de la vida y sus placeres en general puesto que en alg\u00fan momento lleva una conducta de cortesano bastante disipada, es cierto, pero ni m\u00e1s ni menos fr\u00edvola, en principio, que lo acostumbrado en una posici\u00f3n […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[6],"class_list":["post-524","post","type-post","status-publish","format-standard","hentry","category-sin-categoria","tag-goya"],"_links":{"self":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/524","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/comments?post=524"}],"version-history":[{"count":0,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/524\/revisions"}],"wp:attachment":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/media?parent=524"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/categories?post=524"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/tags?post=524"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}