The documentary mural “Shadows of Goya” was released. An excursion into the imaginative world of the great painter became the last film trip of 89-year-old Jean—Claude Carriere, co-author and friend of Luis Bunuel.
The classic of European film drama has composed one and a half hundred scripts for films by Godard and Brooke, Mal and Etex, Forman and Schlendorf, Vida, Oshima, Babenko, Dere, Schnabel… However, the truly great paintings were created by Carriere in collaboration with an Aragonese native, a countryman of Francisco Goya and Carlos Saura. The latter sets the tuning fork of the study: “Goya has two aspects that are also present in Bunuel,” Saura notes in the prologue of the tape: on the one hand, the bestial cruelty of unrestrained violence, on the other, an amazing sensitivity.”
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However, the duality of the classics did not immediately manifest itself. The future creator of the infernal “Capriccios” made his debut with frescoes of the church of del Pilar, striking with the play of powerful volumes and primitive freedom of communication with Renaissance models, which Goya met in the early mysterious Roman period of his life.
Then the artist became a court painter; after ceremonial portraits, Don Francisco took his soul away in mischievous folk subjects, panels and tapestries. Unlike most of his contemporaries, he rejected academicism, from the very first steps he sought to penetrate into the essence of things on the edge of the visible world, manifested in shifts of angles and optics. The characters of Goya’s genre paintings and ceremonial portraits are slightly ugly, somewhat scattered, definitely defenseless and charmingly spontaneous in a purely individual, delicately revealing naturalness of inner life.
