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<\/p>\nLo es, sin duda, el anuncio del Museo de Bellas Artes de Boston de que el d\u00eda 12 de octubre pr\u00f3ximo \u2013fiesta nacional de Espa\u00f1a- inaugurar\u00e1 en su sede una excepcional exposici\u00f3n sobre Goya titulada : \u201cGoya, Orden y desorden\u201d (Order and<\/i> disorder<\/i>). La exposici\u00f3n se clausurar\u00e1 el 19 de enero de 2015 y supone la mayor retrospectiva de Goya en USA en los \u00faltimos 25 a\u00f1os.<\/p>\n
En efecto, como coment\u00e9 en este mismo blog en julio de 2013, hace exactamente 26 a\u00f1os se present\u00f3 p\u00fablicamente lo que podr\u00edamos denominar como antecedente \u2013glorioso- de la exposici\u00f3n que ahora nos anuncian.<\/p>\n
En 1984 Eleanor A. Sayre inici\u00f3 y organiz\u00f3 los trabajos preparatorios de la muestra que en esp\u00edritu de ejemplar colaboraci\u00f3n y ya en 1988 co-dirigi\u00f3 con el profesor P\u00e9rez S\u00e1nchez, entonces director del Museo del Prado. La magn\u00edfica exposici\u00f3n \u201cGoya y el esp\u00edritu de la Ilustraci\u00f3n\u201d, una exhibici\u00f3n y un cat\u00e1logo de referencia,\u00a0 tuvo lugar en el Museo del Prado, Madrid (Octubre-Diciembre), en el Museo de BBAA de Boston (Enero-Marzo 1989) y en el Metropolitan Museum of Art de Nueva York (Mayo-Julio 1989). El \u00e9xito fue m\u00e1s que notable y su repercusi\u00f3n inolvidable.<\/p>\n
Pues bien es ahora otra conservadora del Museo de Boston, do\u00f1a\u00a0 Stephanie Loeb Stepanek, quien al frente de un brillante equipo de colaboradores ha venido trabajando en la muestra que podremos contemplar a partir de octubre, si tenemos la fortuna de poder viajar a Boston. Gran noticia que desde la ciudad de Goya, a casi 6.000 km. de distancia, vemos con admiraci\u00f3n y entusiasmo; s\u00f3lo por el t\u00edtulo elegido, alrededor del orden y el desorden de la creatividad de nuestro paisano, paladeamos un acontecimiento museal que se intuye con claridad como inteligente, atractivo, interesante y retador al mismo tiempo. S\u00f3lo esa menci\u00f3n, y la informaci\u00f3n complementaria, estimula sobradamente nuestra capacidad est\u00e9tica anticipatoria, la capacidad de la imaginaci\u00f3n: la gran virtud, o vicio, que Andr\u00e9 Breton hab\u00eda aprendido de las p\u00e1ginas de Sade: \u201cQuerida imaginaci\u00f3n, lo que amo sobre todo en ti es que t\u00fa no perdonas<\/i>\u201d.<\/p>\n
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Desde la patria de Goya la exposici\u00f3n se adivina como todo un reto. Un asunto que sin duda ha tenido que obligar <\/i>la agudeza y el trabajo tanto de la se\u00f1ora Loeb Stepanek, de apellido con notables resonancias checas, como de Frederick Ilchman y Janis A. Tomlinson, con contribuciones, entre otros, de Manuela B. Mena y de Gudrun Maurer.\u00a0 El Museo anuncia que el discurso de la exposici\u00f3n, y del cat\u00e1logo-libro, seguir\u00e1 criterios tem\u00e1ticos innovadores, lo cual es muy de agradecer, y ya nos tiene impacientes a casi tres meses vista. Impaciencia en cierto modo premonitoria porque he de rogar al lector que me permita ahora, brevemente, hablar de algo que aunque parezca no tener relaci\u00f3n, la tiene. Y mucha. Los franceses, que de eso saben bastante, hablan de que a la hora de comer en un restaurante en el que entramos por primera vez, en una sencilla casa de comidas o en un domicilio particular, por pura intuici\u00f3n sabemos cu\u00e1ndo vamos a comer bien. Es lo que en alta gastronom\u00eda se conoce como el efecto umbral<\/i> que conocen, y dominan, los verdaderos “ma\u00eetre d’h\u00f4tel”, capaces de calibrar al cliente desde el instante mismo de la entrada al comedor y que les permite, en un instante, hacerse una idea y, a continuaci\u00f3n, anticiparse a los deseos del cliente. Ese mismo efecto umbral yo creo que tambi\u00e9n existe en el caso de las exposiciones, sobre todo en las exquisitas, en las que suponen un avance y son por ello especialmente paladeadas por los gourmands<\/i> del arte.<\/p>\n
Dejemos la aparente digresi\u00f3n y volvamos al asunto:\u00a0 Muy de vez en cuando, porque no puede ser de otra manera, tenemos ocasi\u00f3n de que algunos de los grandes museos del mundo \u2013como ejemplarmente lo son en materia de Goya el del Prado en Madrid y el de Bellas Artes de Boston- nos ofrezcan exposiciones ejemplares que inmediatamente se convierten en el renovado canon con el que aumentar todo el conocimiento que tenemos sobre este inmenso artista. Es el caso, afortunado, de la muestra que nos anuncian. Estamos seguros de ello. M\u00e1s de 160 piezas en exposici\u00f3n, entre pinturas, estampas y dibujos fechados entre 1770 y 1828 y algunas de ellas nunca vistas en Boston, procedentes tambi\u00e9n del Louvre, Galleria degli Uffizi, Metropolitan, National Gallery y numerosas colecciones privadas.<\/p>\n
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Para m\u00ed es igualmente muy satisfactorio saber que en tan excelente exhibici\u00f3n figurar\u00e1 el soberbio lienzo de La Ultima Comuni\u00f3n de San Jos\u00e9 de Calasanz<\/i>, al que me he referido in extenso<\/i> en el ensayo \u201cGoya al l\u00edmite<\/i>\u201d<\/a> que puede leerse gratuitamente en la tienda de Apple ibook store<\/a>, as\u00ed como en la web www.realgoya.com<\/a> . Creo que es una pieza capital, important\u00edsima en la carrera de Goya, una aut\u00e9ntica obra maestra y su elecci\u00f3n supone uno de los hitos de esta exposici\u00f3n y un gran acierto del Museo de Bellas Artes de Boston solicitando su pr\u00e9stamo al Museo Calasancio de Madrid. Un cuadro que permitir\u00e1 a los visitantes de la exposici\u00f3n apreciar la prodigiosa potencia pict\u00f3rica de Goya en un a\u00f1o clave de su vida, 1819, en el que tambi\u00e9n pintar\u00eda las famos\u00edsimas pinturas negras,<\/i> con un registro completamente distinto. Prodigio de versatilidad conceptual y demostraci\u00f3n pedag\u00f3gicamente impecable de lo que era Goya y c\u00f3mo se expresaba ante s\u00ed mismo y ante el mundo. Esta exposici\u00f3n facilita todo ello con largueza. Gran noticia.<\/p>\n Gonzalo de DiegoIt is, without any doubt, the announcement that the Museum of Fine Arts of Boston that next October 12th<\/sup> -national day of Spain- will open at its facilities an exceptional exhibition of Goya entitled: \u2018Goya, Order and Disorder\u2019<\/i>. The exhibition will close on 19th January 2015 and is the largest retrospective of Goya in the USA for the last 25 years.<\/p>\n Indeed, as I mentioned in this blog in July 2013, exactly 26 years ago was presented publicly what we could call a -glorious- history of the exhibition that now has been announced to us.<\/p>\n In 1984, Eleanor A. Sayre initiated and organized the preparatory work for the shows in spirit of exemplary cooperation, and already in 1988 co-directed with Professor P\u00e9rez S\u00e1nchez, who was then Director of the Prado Museum, the magnificent exhibition of \u2018Goya and the Spirit of the<\/i> Illustration<\/i>\u2019, a reference exhibition and catalogue, which took place at the Prado Museum, Madrid (October-December), at the Museum of Fine Arts in Boston (January-March 1989) and at the Metropolitan Museum of Arts in New York (May-July 1989).\u00a0 Success was more than remarkable and its impact unforgettable.<\/p>\n Well, it is now another curator from the Boston Museum, Mrs. Stephanie Loeb Stepanek, who, ahead of a brilliant team of collaborators, has been working in the exhibition we will see from October, if you have the fortune of being able to travel to Boston. Great news that from the city of Goya, almost 6,000 km. away, we look with admiration and enthusiasm; only for the chosen title, about the order and disorder creativity of our countryman, we taste a museum event are sensed with clarity as intelligent, attractive, interesting and challenger at the same time. Only this mention, and supplementary information, stimulates more than ever our pre-emption aesthetic ability, the capacity of the imagination: the great virtue, or vice, which Andr\u00e9 Breton had learned from the pages of Sade: “Beloved imagination, what I love above all in you is that you not forgive<\/i>“.<\/p>\n From Goya\u2019s homeland the exhibition is seen as a challenge. An issue that no doubt had to force the sharpness and the work of Mrs. Loeb Stepanek, surname with notable Czech resonances, as Frederick Ilchman and Janis A. Tomlinson, with contributions, among others, from Manuela B. Mena and Gudrun Maurer. The museum announces that the speech of the exhibition and for the catalogue will follow innovative thematic criteria, which is very thankful, and we are already impatient almost three months ahead.\u00a0Premonitory impatience in some way because I have to beg the reader now that allows me to, briefly, talk about something that although it seems to have no relation, it has. And a lot. French, who know enough of this, speak of that at lunch in a restaurant in which we enter for the first time, in a simple meal house or a home, by pure intuition we know when we are going to eat well. This is what in haute cuisine<\/i> is known as the threshold effect<\/i>, what know and dominate the real ma\u00eetre d’h\u00f4tel<\/em>, able to calibrate the customer from the very first moment of the entrance to the dining room and that allows them, in an instant, make an idea, and then anticipate the desires of the customer. That same threshold effect<\/i> I think it also exists in the case of exhibitions, especially in the exquisite, which represent an advance and are therefore especially tasted by gourmands<\/i> of the Art.<\/p>\n Leave the apparent digression and come back to the topic: very occasionally, because it cannot be other way, have the opportunity for some of the great museums in the world -as exemplary in terms of Goya are the Prado in Madrid and the Fine Arts in Boston- provide us exemplary exhibitions which immediately become the refurbished canon which increase all the knowledge we have about this immense artist. It is the case, luckily, for the exhibition we were announced. We are sure of it. More than 160 pieces in the exhibition, including paintings, prints and drawings dated between 1770 and 1828, and some of them never seen before in Boston, also from the Prado, Louvre, Galleria degli Uffizi, Metropolitan, National Gallery and numerous private collections.<\/p>\n For me it is also very satisfying to know that in such an excellent exhibition shall show the superb canvas of The<\/i> Last communion of San Jos\u00e9 de Calasanz<\/i> (La \u00faltima comuni\u00f3n de San Jos\u00e9 de Calasanz), which I have mentioned extensively in the essay \u2018Goya\u2019s border <\/i>\u2019 <\/i>(Goya al L\u00edmite),<\/a> which can be read for free at the Apple ibook store<\/a>, as well as on the website www.realgoya.com<\/a> I think that it is a capital, very important piece within the career of Goya, a true masterpiece and its choice is one of the landmarks of this exhibition and a major success of the Museum of Fine Arts in Boston requesting its loan to the Calasancio Museum in Madrid. A piece that will allow visitors to the exhibition see the prodigious pictorial power of Goya in a key year of his life, 1819, where he also would paint the very famous black paintings<\/i> with a completely different register. Prodigy’s conceptual versatility and impeccable pedagogically show of what Goya was and how was expressed to himself and the world. This exhibition makes all this with generosity. Gonzalo de Diego<\/p>\n","protected":false},"excerpt":{"rendered":" Lo es, sin duda, el anuncio del Museo de Bellas Artes de Boston de que el d\u00eda 12 de octubre pr\u00f3ximo \u2013fiesta nacional de Espa\u00f1a- inaugurar\u00e1 en su sede una excepcional exposici\u00f3n sobre Goya titulada : \u201cGoya, Orden y desorden\u201d (Order and disorder). La exposici\u00f3n se clausurar\u00e1 el 19 de enero de 2015 y supone […]<\/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":[10,6],"class_list":["post-548","post","type-post","status-publish","format-standard","hentry","category-sin-categoria","tag-boston","tag-goya"],"_links":{"self":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/548","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=548"}],"version-history":[{"count":0,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/548\/revisions"}],"wp:attachment":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/media?parent=548"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/categories?post=548"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/tags?post=548"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/p>\n<\/p>\nLast communion of san Jos\u00e9 de Calasanz<\/i><\/b>. Oil on canvas. 250 x 180 cms. Calasancio Museum. Madrid<\/h6>\n
\nGreat news.<\/p>\n