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! Trabajo!Fin!de!Máster! ! Descriptions!of!Goya’s!Paintings!at!the!Museum!of! Zaragoza:!English!Translation!and!Commentary! Autora! Erica!Feild! ! Directora! Rosa!Lorés!Sanz! ! ! ! Filosofía!y!letras!/!Máster!en!Traducción!de!Textos!Especializados! 2013P2014! Descriptions of Goya’s Paintings at the Museum of Zaragoza: English Translation and Commentary TABLE OF CONTENTS I. Introduction II. Justification III. Textual Analysis IV. Noteworthy Translation Problems and Strategies for Their Solution IV.1. Ambiguities in the Original Text IV.2. One Word, Multiple Translations IV.3. Distinct Conceptual Bases IV.4. Unique Cultures and Histories V. Translation V.1. Original Text and Preparation for Translation V.2. Original Text and Translation Presented in Two Columns VI. Documentation VII. Glossary of Art Terminology VIII. Conclusion IX. Bibliography IX.1. Sources Referenced for the Commentary IX.2. Sources Referenced for the Translation Appendix 1 2 4 10 10 12 14 15 19 19 32 60 63 64 66 66 66 68 1 I. INTRODUCTION This TFM (Trabajo fin de master) is the capstone project of the Master’s in translation of specialized texts at the Universidad de Zaragoza. As such it intends to demonstrate the skills learned throughout the course of the academic year, in particular, textual analysis, the identification and solution of problems of translation, the use and documentation of reference materials, and the production high-quality translations. For such purposes, I have accepted the request to complete a translation of a 3,793-word document from Spanish to English for the Museum of Zaragoza. The original text for translation is currently found on the walls in the Goya section of the Museum of Zaragoza and comprises a series of descriptions of the artist’s works as well as a narrative that recounts details of Goya’s life and artistic influences. The aim of this project is to provide a careful translation of the descriptions of the collection’s permanent pieces so that visitors who do not understand Spanish, but have a command of the English language can access the information provided by the Museum and have a fuller, richer experience. In addition to the translation, I have completed a thorough process of textual analysis that takes into account external and internal factors in order reach a profound understanding of the text, and a reflection on the difficulties in translation of this specific text and their corresponding solutions to develop a conscious awareness of how to solve problems that arise, a skill that will be of much use in the future as I continue work in translation. I have also included documentation of the sources I referenced throughout the translation process and the resulting glossary of specialized terminology. 2 II. JUSTIFICATION For a long time I have been interested in the translations found in museums. Maybe because they are one of the few places (before starting this program) where I was exposed to side-by-side translations. During visits, I often found myself comparing the provided translations and paying more attention to the decisions that the translators made than to the pieces that they explained. My interest in the possibility of translating a document for the Museum of Zaragoza was sparked after my first visit. I was impressed by the amount of information that the Museum provided surrounding each artifact or piece of art and, given that their were no translations to be found, wondered if they would be interested in English versions. In consideration of the artist’s global fame and potential tourist traffic, I thought that translations could be especially interesting for the Museum’s section dedicated to Goya. It also seemed particularly fitting to me to complete a project that connected to my personal interest and experience with history and to a figure that has been so important to the city. After contacting the Museum of Zaragoza, I spoke with Marisa Arguís Rey, who is in charge of the Museum’s fine arts sections. In our meeting she explained to me that originally there were translations for the Goya section, but that several years ago they decided to change the layout and some of the displayed pieces and that the translations no longer corresponded to present exhibit. In consideration of the parameters of the TFM, as well as the needs of the Museum, we agreed that I would complete a translation of approximately 3,800 words comprised of the introduction to the rooms that house the Museum’s Goya collection and the descriptions of the permanent pieces. This project does not include translations of Goya’s prints because they are frequently rotated to protect their fragile state, or works completed by other artists because Marisa indicated that the international interest is primarily centered on Goya. The selection of this text also corresponds with the resources that I have available. My father is an art teacher who is familiar with Goya’s work and techniques, so I knew that I could rely on him as a professional who could confirm the appropriate use of specialized terms, as well as the general style in which I present the translations. 3 Besides the fact that this translation is a real commission that fills a need in the city of Zaragoza, it coincides with the established requirements of the TFM in its extension, its use of specialized language, and its presentation of problems of translation. It has presented interesting challenges that have required my to employ the tools acquired through the completion of this program’s coursework, as well as allowed me to demonstrate my ability to find fitting solutions. 4 III. TEXTUAL ANALYSIS These texts have been provided by the Museum of Zaragoza to teach visitors about the works of art on display, informing them about the artist’s techniques, influences, successes, and shortcomings. The texts were written by Marisa Arguís Rey, an employee of the Museum (the sender of the text) who is in charge of its fine arts sections. Though the author and sender of the text are not identical, there is no indication that the sender has a different purpose for the texts than the author’s original intention. This idea is supported by the fact that the author works in for the Museum and has a central role in their dissemination. The descriptions of specific paintings are found on a board posted next to the corresponding work (as pictured on the next page). Additionally, more general or introductory information about Goya during the period that corresponds to the works in a given room is written directly on the walls, usually near each room’s entrance (as pictured on the next page). 5 Figure 1 Figure 1: introduction printed directly on the wall Figure 2 Figure 2: painting and description board (Venus and Adonis) 6 Figure 3 Figure 3: painting and description board (El apóstol Santiago y sus discípulos adorando a la Virgen del Pilar) Figure 4 Figure 4: description board (El apóstol Santiago y sus discípulos adorando a la Virgen del Pilar) 7 Providing this type of information helps visitors connect with the pieces as well as the context in which they were created which allows them to have a more cohesive experience. As the principal didactic function of the text is to provide information about the featured works of art, the sender’s voice does not play a key role. The explanations are neutral in tone; they do not seem to intend to persuade or motivate readers to any sort of action or change of opinion. The sender’s intention is to enrich the experience of the visitors to this section and to the Museum in general, which, in turn, reflects positively on the Museum and encourages guests to return and possibly to take interest in its future projects. As indicated above, the texts are found in the Goya section of the Museum of Zaragoza and are accessed through visits to the Museum. Additionally, a longer, more complete version of the text is available online (at http://www.museodezaragoza.es/publicaciones/guias-ycatalogos/goya/) and in the Museum’s published guide, Goya: Museo de Zaragoza, Exposición permanente. The narrative and the descriptions that I have translated are summaries that were taken directly from this work. However, as this text differs somewhat from the TO, the explanations found on the walls of the Museum, I will limit my analysis to the latter, while keeping in mind that the audience has access to additional information in Spanish, both in the Museum and online. The intended audience of these texts is the Museum’s guests, and is therefore comprised of a wide variety of individuals. Visitors could be students of diverse ages (in my visits to the Museum I have seen a group of elementary students as well as a handful of more advanced high school or university students working on sketches), tourists from virtually any part of the world, residents of Zaragoza or nearby cities and towns, leisure groups with historical or artistic interests, art teachers and professors, etc. The great variety in the intended audience means that the text needs to be generally accessible for guests with little related background, while remaining interesting for visitors that are more familiar with or even specialists in the field. Internal factors The texts for translation are a series of documents that describe a specific painting or introduce the uniting element in collection of paintings that are displayed in the same room. Though related in content and written by the same author, each text, beginning with the title of the corresponding painting, deals with a particular painting and idea, and therefore functions as an independent 14 aware of other possibilities and their reasons for choosing one word over another, especially because further reflection may present a more convincing option. IV.3. DISTINCT CONCEPTUAL BASES As mentioned in the last section, the process of translation is more than a direct transcription of a text in a different language. In the quotation included at the beginning of this section, Olivia de Miguel, winner of Spain’s national award for translation, points out that it is more of a rewriting7. Because of the complications inherent to communicating between two cultures, it requires constant awareness of the differences in the way that languages express ideas and the ability to adapt them to the target language. This brings us to another set of problems that I encountered while completing this project, that of distinct cultural bases, which I solved in the following two examples using the translation strategy modulation, as defined by Gerardo Vázquez Ayora (1977)8. The first example I would like to share is a compound problem in that it deals with divergence (as explained above) as well as the need for modulation9. The Spanish verb conocer is most simply translated into English as to know. However, a fuller understanding of both languages tells us that to know is thought of in at least two ways in Spanish, conocer (which is more like to be familiar with) and saber (which is more like to understand or to know how). This information is essential for translators because it indicates a difference between the way that Spanish and English conceive these actions, a difference that becomes manifest in situations where a simple translation of conocer as to know falls short of adequate. For example, the TO’s description of Goya’s Italian Notebook reads, “En él se recogen un importante número de dibujos y anotaciones manuscritas, que nos dan a conocer tanto su faceta artística como su vida personal.” A direct translation that takes into account the divergence between the two verbs without considering its further implications would equivalate conocer to to know. Yet the construction of the sentence and the difficulty I had translating it using to know, as well as the context of the sentence, indicate that a subtly different thought is 7 Olivia de Miguel, interview by Chema R. Morais, “El resultado de la traducción es un texto igual y distinto a la vez,” Heraldo de Aragón, March 8, 2014. 8 See Appendix 1. 9 GerardoVázquez Ayora, 1977. See Appendix 1. 15 expressed in the original. This sentence, translated with the verb to know is awkward and unclear: The Italian Notebook unites a significant number of drawings and handwritten notes that allow us to know Goya’s artistic facets, as well as his personal life. What’s more is that if I were to read this sentence without having seen the TO, I would walk away with a different idea. In this case, I would associate to know with the idea expressed in Spanish as saber, which doesn’t fit well with the rest of the sentence and creates dissonance. This problem is solved by using different words to better express the intended idea (modulation). Thinking about the way Spanish distinguishes between conocer and saber leads us in the right direction. The idea of “to be familiar with” led me to the phrase, “have perspective on”, which allows a clearer, smoother reading in English and represents a more precise translation. Another similar problem that can also be solved employing modulation can be found in the section that discusses Goya’s Letter to Martín Zapater. The TO talks about the trazo abocetado, which I translate as visible sketch work. For me, it is more natural to talk about visible (out)lines or sketch work than traced outlines. It seems that the Spanish word abocetado, or sketched, expresses the visibility of the element; the fact that it has been drawn indicates that it can be seen. However, in English it would refer to the method through which it was created. It could distinguish between an image that had been painted, drawn, or engraved, as well as communicate its sense of completion, a sketch being more similar to a doodle or outline. In this example modulation is useful not because the words have different meanings, but because in the two languages they play different roles. IV.4. UNIQUE CULTURES AND HISTORIES Translators’ work requires them not only to be aware of the relevant cultural and historic differences of the language groups that they work with, but also to move fluidly between them. They need to be able to arrive at a thorough comprehension of the text (usually not in their first language, since native tongues are usually the target language) and anticipate the information gaps caused by different cultures and histories that are likely to create confusion for the target audience if they are not explained or adapted. 16 One simple example taken from this project addresses the difference of familiarity with Spanish landmarks between the audience of the original text and the translation. The Spanish readers are likely to know what and where el Pilar is whether it is referred to using this abbreviated name, la Basílica de Nuestra Señora del Pilar, la Catedral del Pilar, or any similar variation of the name, and in the TO these names are used interchangeably. However, this mixed-use of names could be confusing to readers who don’t benefit from the same schema. Instead of providing an explanation of each new name, which would be wordy and require additional space, I opted to employ the most complete name, Basilica Our Lady of the Pillar, consistently throughout the piece. I continued my use of the same strategy when mentioning the Royal Tapestry Factory, which the TO referred to under two different names. Another, trickier problem presented itself in the description of the piece Saint Cajetan. Throughout the dissertation I translate the names of saints to their English version, a strategy pointed out by Peter Nemark (1987) as recognized translation10. This normally doesn’t create additional difficulties. However, the explanation of the painting mentioned above details that Count Sobradiel, Joaquín Cayetano Cavero was named after Saint Cajetan, alluded to in the work’s title. Since Count Sobradiel is not so well known that, like saints and kings, his name has an English equivalent, I left it in the original Spanish, as I did with other names of less famous figures. The problem is that the difference between Cajetan and Cayetano veils the connection between the two names that in the original Spanish are, of course, Cayetano and Cayetano. To avoid this problem I could have simply left Saint Cajetan’s name in Spanish (Cayetano), but I had chosen which names to translate in a systematic way and did not want to alter the pattern. I settled on the following translation, which includes the Spanish name in parentheses: “The invocation of this saint alludes to the namesake of the Count of Sobradiel’s full name, Joaquin Cayetona Cavero. Saint Cajetan of Thiene (San Cayetano in Spanish), founder of the Theatine order, who was born in Venice in 1480 to an illustrious family.” The inclusion of the Spanish name could be considered as an example of an addition that is used to avoid ambiguity or to make something that is implicit in the original more explicit in the translation11. The last problem that I would like to discuss arose in various places throughout the text. It is the use of two words that don’t exist in English: don and doña. J.P. Vinay and J. Darbelnet 10 See Appendix 4. 11 Eugene A. Nida, 1964. See Appendix 2. 17 (1958)12 offer a possible solution to this problem, which I think is particularly fitting for don and doña. They suggest the use of a loanword, that is, the direct adoption of a word from the SL to the TL. The incorporation of don and doña into English provides an acceptable solution because they are terms that are familiar to a great number of English speakers, thanks to the popularity of some extremely famous figures such as Don Quixote and Don Juan. In addition, although this argument is not valid for the entire target audience, don and doña are recognizable by American speakers of English due to significant contact with Mexican culture (especially in certain areas of the U.S.) thanks to the very large immigrant population. I would like to stipulate that the use of don and doña as loanwords should always use the extended forms, abbreviations (which are found in the TO) would likely be confused with an initial (D.) that stands for the given individual’s first name. Lastly, the incorporation of don and doña allows the target audience a glimpse at the original culture in a comprehensible way. Though this not by appropriate in all documents, in the case at hand I think it provides a nice salute to the original Spanish and fits in well with the environment in which the text will be displayed. To conclude this section I would like to observe that in this translation, as well as other projects in general, I found it extremely useful to be aware of the translation strategies that I made use of throughout the process. Of course, translators must be constantly making decisions and employing strategies that inevitably go unnoted. However, a bit of conscious reflection allows the translator to identify patterns in how he or she tends to resolve the issues that arise, as well as become aware of divergent patterns between the original and target language in a way that will surely be of use in future translations. For example, being conscious of the various ways in which the TO referred to the Basilica Our Lady of the Pillar and making an intentional decision to maintain a consistent term in the translation, made me aware of the possibility of inconsistencies in other names of locations. Accordingly, I proceeded with alert eyes and was able to catch discrepancies in the names used for the Royal Tapestry Factory that might have gone unapprehended had I not reflected previously. In addition, I think that keeping possible translation strategies in mind during revision helps me catch errors and awkward phrasings. Having a list of these strategies present, both mentally and physically (in an open document on my computer), made improvable areas stand out in a more obvious way. Aside from helping me discover a way revise my translations more 12 See Appendix 5. 18 effectively, the inclusion of this reflection on problems and solutions also led me to some new realizations about the way a few particular words that seem similar in English and in Spanish actually have important distinguishing nuances, which is always a fun discovery that keeps things interesting. As such, I will keep this helpful technique in mind for future translations, specifically for especially challenging sections and revisions. 19 V. TRANSLATION V.1. ORIGINAL TEXT AND PREPARATIONS FOR TRANSLATION V.2. TRANSLATION PRESENTED IN TWO COLUMNS V.1. ORIGINAL TEXT AND PREPARATIONS FOR TRANSLATION The following is the original text provided by the Museum of Zaragoza in a Word document. I have highlighted the words that I considered specialized terms as well as the words that I looked up in the online version of the Real Academia Española in preparation for the translation. Additionally, I have included the notes on questions and considerations that I thought would be pertinent to the translation that I took during the first read through. III. GOYA E ITALIA El viaje de Goya a Italia había sido algo soñado desde hacía mucho tiempo por el artista, ya en 1763 y 1766 intentó optar a la beca de estudios en Roma convocada por la Real Academia de San Fernando, tras fallar su propósito tuvo que costearse él mismo el viaje. Durante su breve estancia en Italia, además del episodio del Concurso de Parma13, Goya bebió de las fuentes artísticas del momento a la par que se sintió atraído por la antigüedad clásica. También realizó obras de pequeño formato como Venus y Adonis14, destinadas para su venta y que le sirvieron para su manutención en tierras italianas. 13 Is this the name of a scholarship competition sponsored by Spain? Italy? If it is sponsored by Italy would it be more appropriate to employ the original Italian name? 14 Translations of the names of works? Surely the most famous works have an English equivalent, but lesser known pieces may not. I think it would be awkward to employ a mix of Spanish and English titles. One possible solution is 20 Gracias a la existencia del Cuaderno Italiano, libro de notas que sirvió a Goya, para tomar apuntes en este viaje. Podemos conocer las ciudades que visitó, las obras maestras que le impresionaron y las anotaciones artísticas que le sirvieron como bocetos15. La estancia en Italia de este artista, marcó un momento determinante en su formación, quedando como base de su aprendizaje artístico que daría continuidad en el tiempo, evolucionando a un lenguaje muy personal. Aníbal vencedor que por primera vez miró Italia desde los Alpes 1771. ÓLEO SOBRE LIENZO. COMPRA: 1991. Obra perteneciente a la etapa italiana de Goya, boceto del cuadro definitivo que presentó en 1771 al concurso convocado por la Academia de Parma (Italia)16. Aunque no ganó, sí consiguió una mención honorífica, en la que se reconoce internacionalmente su incipiente genio creador. El lienzo reproduce el argumento extraído de un soneto escrito por el Abate Frugoni, que Goya resuelve con base en diferentes planos que confluyen en un movimiento narrativo. Los diversos estudios para la composición final de la obra se conservan en el Cuaderno Italiano, cuaderno de notas utilizado por Goya entre 1770 y 1786 (Museo del Prado)17. El cuadro presentado al concurso, se encuentra en el Palacio del Pito (Cudillero, Asturias) entre las obras de arte de la Fundación Selgas-Fagalde. Cuaderno Italiano Facsímil del Cuaderno Italiano que se encuentra en la actualidad en el Museo del Prado, valioso testimonio como cuaderno de apuntes de Goya entre 1770 y 1786, es decir la fase final de formación y los inicios de la carrera profesional. El cuaderno original, está compuesto por ochenta y tres hojas de papel blanco verjurado, de 186 x 128 mm. y la cubierta está realizada en pergamino. Las anotaciones están realizadas en pluma con diferente colorido, tinta negra de carbón y tinta sepia, lápiz y sanguina. to employ the English name of the well-known works, with the original Spanish title in parenthesis, then for works that don’t have an established title in English, I could employ the Spanish one directly. 15 boceto. (Del it. bozzetto). 1. m. Proyecto o apunte general previo a la ejecución de una obra artística. 2. m. Esquema o proyecto en que se bosqueja cualquier obra. El boceto de un libro, de una ley. (http://lema.rae.es/drae/?val=bocetos) 16 This name should either be translated to English or left in the original Italian name, however for a SpanishEnglish translation it doesn’t make sense to employ the term that was surely originally Italian. 17 What language should be used for the names of museums? 21 Si al principio pretendió ser utilizado por el artista como un cuaderno artístico, gracias a sus innumerables notas biográficas ( su boda, nacimiento de sus hijos..) finalmente se convirtió casi en un pequeño diario. En él se recogen un importante número de dibujos y anotaciones manuscritas, que nos dan a conocer tanto su faceta artística como su vida personal. Venus y Adonis HACIA 1771. ÓLEO SOBRE LIENZO. COMPRA: 1999. Ejecutada durante la estancia de Goya en Italia, formaría parte de un conjunto de pinturas destinadas para su venta rápida, pues servían para su manutención18 en tierras italianas. Representa un pasaje de la mitología clásica, relato tomado de “La Metamorfosis “ de Ovidio en el que se narran los amores de la Diosa Venus con el bello Adonis. Nos presenta el desdichado desenlace en el que Venus encuentra el cuerpo de Adonis, muerto por el ataque de un jabalí tras una cacería. Iconografía utilizada por artistas de la talla de Tiziano, Rubens o Poussin, e inspirada en la obra de Giaquinto del mismo título de 1732, de la Villa della Regina en Torino. Sigue los modelos clásicos en la composición y factura, de acuerdo con el clasicismo romano, haciendo todavía uso de soluciones barrocas. IV. ZARAGOZA. EL ORATORIO DEL PALACIO DE SOBRADIEL A su regreso a Zaragoza desde Italia, empieza a ser apreciado como pintor entre las elites de la ciudad, los nobles y la iglesia, y así es como recibe los primeros encargos de importancia. Realiza la decoración de la bóveda del Coreto de la Basílica del Pilar, que marca el inicio de su primer ciclo de pintura religiosa. En estas mismas fechas ejecutó las pinturas murales para la capilla de la Cartuja de Aula Dei, el friso19 de mayor tamaño de toda su obra. 18 manutención. (De manutener). 1. f. Acción y efecto de mantener o mantenerse. 2. f. Tecnol. Conjunto de operaciones de almacenaje, manipulación y aprovisionamiento de piezas, mercancías, etc., en un recinto industrial. 3. f. p. us. Conservación y amparo. (http://lema.rae.es/drae/?val=manutenci%C3%B3n) 19 friso. (De or. inc.). 1. m. Faja más o menos ancha que suele pintarse en la parte inferior de las paredes, de diverso color que estas. También puede ser de seda, estera de junco, papel pintado, azulejos, mármol, etc. 22 Corresponde a este momento su trabajo en el oratorio del Palacio de los condes de Sobradiel, en la Plaza del Justicia de Zaragoza (hoy sede del Colegio Notarial). En él desarrolla un programa iconográfico impuesto por los condes, basado en sus devociones religiosas. De las siete obras que Goya realiza para decorar las paredes de la estancia, el Museo expone tres: El sueño de San José, San Cayetano, San Vicente Ferrer. Las restantes obras están dispersas por distintas colecciones: :“La Visitación de María a su prima Santa Isabel” (paradero20 desconocido);“San Joaquín”. Museo Camón Aznar, Zaragoza;“Santa Ana”. Museo Camón Aznar, Zaragoza; “Entierro de Cristo” . Museo Lázaro Galdiano, Madrid. Aunque ha aprendido mucho en Italia todavía muestra indecisión en sus planteamientos iconográficos y no duda en copiar de los grabados que sin duda el ha estudiado en sus años de formación con Luzán. Así en La Visitación se inspira en el grabado de Carlo Maratta. Y toma modelo del francés Simón Vouet para El sueño de San José” y “Entierro de Cristo”. En 1921, las pinturas fueron arrancadas de su lugar y pasadas a lienzo, este hecho propició la dispersión del conjunto. El Sueño de San José Hacia 1772. Óleo sobre muro transpasado a lienzo. Compra: suscripción popular, 1965 Pintura mural al óleo traspasada a lienzo, formaba parte del programa iconográfico del oratorio de los Condes de Sobradiel. Representa el sueño de San José, tomado del Evangelio de S. Mateo; momento en que el arcángel San Gabriel se presenta ante San José para decirle que no dude en aceptar a la Virgen María. Iconografía que toma como modelo un cuadro del pintor francés Vouet, identificado a través de un grabado de 1640 de Michel Dorigny. Pintura de juventud de Goya, tras su regreso de Italia, refleja todavía el gusto barroco, siguiendo los modelos clásicos para la composición. Arquitectura en la que se integran las figuras de minucioso dibujo y gran riqueza cromática, de tonalidades intensas verdes y rojas que resaltan sobre fondo opaco, evoca la técnica de Corrreggio. Las figuras principales destacan por su rotundo volumen y el dibujo esta resuelto en marcadas diagonales. 2. m. Arq. Parte del cornisamento que media entre el arquitrabe y la cornisa, donde suelen ponerse follajes y otros adornos. 3. m. Ven. En albañilería, capa de mezcla con cemento que se da a una pared o muro como acabado. (http://lema.rae.es/drae/?val=friso) 20 This change corrects an error in the original text (radero desconocido > paradero desconocido). 23 San Cayetano HACIA 1772. ÓLEO21 SOBRE MURO TRASPASADO A LIENZO. MPRA: 1997. Pintura que formaba parte del conjunto de siete escenas realizadas por Goya para el oratorio del Palacio de Sobradiel, ocupando la pared central. La advocación a este santo hace referencia a la propia onomástica22 del Conde de Sobradiel Don Joaquín Cayetano Cavero. San Cayetano de Thiene nació en Venecia en 1480 en el seno de una familia ilustre, fundador de la orden teatina pasó su vida distribuyendo sus riquezas y haciendo caridad con los mas necesitados. Se representa al santo en edad avanzada, arrodillándose, en actitud de veneración. La cabeza está resuelta por medio de grandes pinceladas, sin embargo deja entrever una mueca23 sarcástica, en un ejemplo goyesco de pesadilla. Obra muy abocetada, destaca por un manifiesto expresionismo que anuncia un Goya posterior. San Vicente Ferrer HACIA 1772. ÓLEO SOBRE MURO TRASPASADO A LIENZO. COMPRA: 1999. Corresponde al ciclo iconográfico del oratorio de los Condes de Sobradiel. Ocupaba la pared central de la capilla, la elección de este santo está relacionada con la procedencia valenciana de la esposa del conde. La imagen de San Vicente que invade la superficie del lienzo, está inspirada en San Hilario obra de Correggio para una de las pechinas24 de la Catedral de Parma. El volumen 21 Although the word óleo doesn’t appear here, but rather, eo, it is a clear typo. Since I also have the published guide at my disposition, I was able to confirm that óleo, was infact the intended term. 22 onomástico, ca. (Del gr. ὀνομαστικός). 1. adj. Perteneciente o relativo a los nombres, y especialmente a los nombres propios. Lista onomástica de los reyes de Egipto 2. f. Ciencia que trata de la catalogación y estudio de los nombres propios. 3. f. Conjunto de nombres propios de un lugar o de un país. La onomástica visigótica 4. f. Día en que una persona celebra su santo. (http://lema.rae.es/drae/?val=onom%C3%A1stica) 23 mueca. (Cf. fr. ant. moque, port. moca, burla, y estos quizá de or. expres.). 1. f. Contorsión del rostro, generalmente burlesca. (http://lema.rae.es/drae/?val=mueca) 24 pechina. (Del lat. pecten, -ĭnis, peine, y también concha). 1. f. Concha de los peregrinos. 2. f. Arq. Cada uno de los cuatro triángulos curvilíneos que forman el anillo de la cúpula con los arcos torales sobre que estriba. (http://lema.rae.es/drae/?val=pechinas) 30 Retrato de Juan Martín de Goicoechea 1790. ÓLEO SOBRE LIENZO. COMPRA: 2008. Goya nos presenta a su amigo luciendo una casaca31 marrón, propia de su condición de comerciante, de ejecución brillante. Le cruza el pecho la Cruz de la Real Orden de Carlos III, concedida en 1789. Juan Martín de Goicoechea fue el hombre de negocios más importante de Zaragoza. Dedicado al comercio de la seda mantuvo una activa implicación en los asuntos ciudadanos: fue uno de los fundadores de la Real Sociedad Económica de Amigos del País y mantuvo a sus expensas la Academia de Dibujo que tuvo actividad entre 1784 y 1792, fecha en la que se creó la Academia de Nobles y Bellas Artes de San Luís. El año en que Goya le pintó el retrato nuestro pintor estuvo en Zaragoza para celebrar las fiestas del Pilar, pudiendo tomar apuntes del natural. La letra con sangre entra. Escena de escuela HACIA 1780 – 1785. ÓLEO/ TELA. COMPRA : 2008 A medio camino entre la crítica social y la escena de costumbres, Goya refleja la cotidianeidad de la clase en la que una azotaina32 no despierta ningún interés entre el grupo, excepto en los que la sufren. A pesar de su pequeño formato está ejecutada con magníficos detalles y un magistral uso de la luz que incide en la autoridad del profesor y en el alumno dispuesto a recibir. Años más tarde, en 1799, Goya retoma su preocupación por la educación en la serie de Los Caprichos, con títulos tan explícitos como “Si sabrá más el discípulo”. La radiografía hecha al lienzo muestra que fue reutilizado, y que se usó en principio para algún boceto de la cúpula “Regina Martirum” del Pilar. 31 casaca. (De or. inc.; cf. fr. casaque, it. casacca). 1. f. Vestidura ceñida al cuerpo, generalmente de uniforme, con mangas que llegan hasta la muñeca, y con faldones hasta las corvas. (http://lema.rae.es/drae/?val=casaca) 32 azote. (Del ár. hisp. assáwṭ, y este del ár. clás. sawṭ). 3. m. Golpe dado con el azote. 4. m. Golpe dado en las nalgas con la mano. 6. m. Aflicción, calamidad, castigo grande. 7. m. Persona que es causa o instrumento de este castigo, calamidad o aflicción. (http://lema.rae.es/drae/?val=azotaina) Spanking 31 Esta obrita se relaciona con la serie “Juego de niños” que Goya realizó para la Real Fábrica de Santa Bárbara. Retrato de Dama con mantilla 1824 – 1825. Óleo sobre lienzo. Compra: 1991 Estamos ante una de las últimas obras del autor en las que con más intensidad profundiza en los aspectos psicológicos del personaje al que retrata. La mirada directa de sus profundos ojos nos sugiere a una mujer de carácter fuerte y aire majestuoso. Algunos autores quieren ver en ella a Leocadia Zorrilla de Weiss, ama de llaves y compañera de Goya en sus últimos años. También se le pone en relación con la figura de una mujer que aparece en las pinturas de la Quinta del Sordo. Es una obra restaurada desde antiguo pero que todavía conserva el sello de su autor, en el costado izquierdo incluso pueden verse restos de veladuras33. El sello de modernidad que se percibe en la obra anuncia las nuevas corrientes pictóricas del Romanticismo. 33 veladura. (De velar2). 1. f. Pint. Tinta transparente que se da para suavizar el tono de lo pintado. (http://lema.rae.es/drae/?val=veladuras) 32 V.2. TRANSLATION PRESENTED IN TWO COLUMNS: ORIGINAL TEXT AND TRANSLATION34 III. GOYA E ITALIA El viaje de Goya a Italia había sido algo soñado desde hacía mucho tiempo por el artista, ya en 1763 y 1766 intentó optar a la beca de estudios en Roma convocada por la Real Academia de San Fernando, tras fallar su propósito tuvo que costearse él mismo el viaje. Durante su breve estancia en Italia, además del episodio del Concurso de Parma, Goya bebió de las fuentes artísticas del momento a la par que se sintió atraído por la antigüedad clásica. También realizó obras de pequeño formato como Venus y Adonis, destinadas para su venta y que le sirvieron para su manutención en tierras italianas. III. GOYA AND ITALY Goya had long dreamed of a trip to Italy; in 1763 and again in 1766, he applied for a grant offered by the San Fernando Royal Academy of Fine Arts to study in Rome. After his unsuccessful attempts, he had to fund the cost of the trip himself. During his short time in Italy, apart from the entering the painting competition sponsored by the Academy of Fine Arts of Parma35, Goya drank from contemporary artistic fountains at the same time that he felt drawn to classical antiquity. He also completed works in small formats intended for sale, such as, Venus and Adonis, which supported his subsistence in Italy. 34 Please note that, in consideration of the academic purposes that accompany the practical purposes of the TFM, in the present copy, I have included comments in the footnotes to document some of the translation strategies not discussed at length in the previous section, as well as other relevant thoughts. These comments do not appear in the copy of the translation that the Museum of Zargoza will receive. 35 Addition (Eugene A. Nida, 1964): Here I add information that is not found in the TO, it is however in the Goya guide (which was supplied to me by the Museum of Zaragoza) from which the text in the descriptions is taken. I decided to include this addition (see Annex 2) because, while the guide previously details Goya’s entrance in the competition, the TO does not. The TO is unclear because it lacks this essential context and refers ambiguously to the episode of the Parma competition, as such I have added the necessary information to the TM. 33 Gracias a la existencia del Cuaderno Italiano, libro de notas que sirvió a Goya, para tomar apuntes en este viaje. Podemos conocer las ciudades que visitó, las obras maestras que le impresionaron y las anotaciones artísticas que le sirvieron como bocetos. La estancia en Italia de este artista, marcó un momento determinante en su formación, quedando como base de su aprendizaje artístico que daría continuidad en el tiempo, evolucionando a un lenguaje muy personal. Thanks to Goya’s Italian Notebook36, which the artist used to take notes throughout his trip, we know which cities he visited, the master works that moved him, and the illustrations that served as his drafts. Goya’s stay in Italy marked a defining moment in his education, serving as the foundation that would lend continuity to his artistic development and the gradual evolution of his own, personal language. Aníbal vencedor que por primera vez miró Italia desde los Alpes 1771. Óleo sobre lienzo. Compra: 1991. Obra perteneciente a la etapa italiana de Goya, boceto del cuadro definitivo que presentó en 1771 al concurso convocado por la Academia de Parma (Italia). Aunque no ganó, sí consiguió una mención honorífica, en la que se Hannibal the conqueror, viewing Italy from the Alps for the first time37 1771. Oil on canvas. Purchase: 1991. This work is part of Goya’s Italian chapter. He entered its draft in the 1771 painting competition organized by The Academy of Fine Arts of Parma.38 Though he didn’t win, he received an honorable mention that 36 Italian Notebook is the established term in English, documented at https://www.museodelprado.es/index.php?id=3646&L=5. 37 Title in English consulted at: http://eeweems.com/goya/goya_lostpainting.html. 38 Omission (Gerardo Vázquez Ayora, 1977): I omitted (see Appendix 1) Italia here because it is unnecessary considering that the competition has already mentioned and associated with Italy, and because it is general knowledge that Parma is located in Italy. 34 reconoce internacionalmente su incipiente genio creador. El lienzo reproduce el argumento extraído de un soneto escrito por el Abate Frugoni, que Goya resuelve con base en diferentes planos que confluyen en un movimiento narrativo. Los diversos estudios para la composición final de la obra se conservan en el Cuaderno Italiano, cuaderno de notas utilizado por Goya entre 1770 y 1786 (Museo del Prado). El cuadro presentado al concurso, se encuentra en el Palacio del Pito (Cudillero, Asturias) entre las obras de arte de la Fundación Selgas-Fagalde. acknowledged his nascent, creative ingenuity at the international level. The canvas portrays the scene taken from a sonnet by the abbot, Carlo Frugoni, that Goya depicts on various planes that converge in narrative movement. His studies for the piece’s final composition are conserved in his Italian Notebook, in which Goya wrote between 1770 and 1786 (Prado Museum). The work entered in the contest can now be found in the Palace of El Pito (Cudillero, Spain), among the works of art belonging to the Selgas-Fagalde Foundation. Cuaderno Italiano Facsímil del Cuaderno Italiano que se encuentra en la actualidad en el Museo del Prado, valioso testimonio como cuaderno de apuntes de Goya entre 1770 y 1786, es decir la fase final de formación y los inicios de la carrera profesional. El cuaderno original, está compuesto por Italian Notebook This is a replica of Goya’s authentic Italian Notebook, currently found at the Prado Museum. Its notes, spanning form 1770 to 1786, are a valuable testimony of the final phase of Goya’s formation and the beginning of his professional career. The original notebook is made up of 35 ochenta y tres hojas de papel blanco verjurado, de 186 x 128 mm. y la cubierta está realizada en pergamino. Las anotaciones están realizadas en pluma con diferente colorido, tinta negra de carbón y tinta sepia, lápiz y sanguina. Si al principio pretendió ser utilizado por el artista como un cuaderno artístico, gracias a sus innumerables notas biográficas ( su boda, nacimiento de sus hijos..) finalmente se convirtió casi en un pequeño diario. En él se recogen un importante número de dibujos y anotaciones manuscritas, que nos dan a conocer tanto su faceta artística como su vida personal. eighty-three 186 x 128mm sheets of white laid paper39 and a parchment40 cover. The notes were made with a quill using inks of various colors: charcoal black, sepia, graphite, and sanguine. If at first it was to be used by Goya as a sketchbook, thanks to his countless autobiographical notes (his wedding, the births of his children, etc.41), it can almost be considered a small journal. It contains a significant number of drawings and handwritten notes that give us perspective on his artistic facets, as well as his personal life42. Venus y Adonis Hacia 1771. Óleo sobre lienzo. Compra: 1999. Ejecutada durante la estancia de Goya en Italia, formaría parte de un conjunto de pinturas destinadas para su venta rápida, pues servían para su manutención en tierras italianas. Venus and Adonis Circa 1771. Oil on canvas. Purchase: 1999. This work was completed during Goya’s time in Italy and would form part of a group of paintings intended for quick sale that provided for Goya’s upkeep abroad.43 39 Linguee.com suggests laid paper as a translation for papel verjurado. I also consulted this website in English (http://drawsketch.about.com/od/materials/tp/paper-surfaces.htm) that discusses different style of art papers and laid paper is a good match according to the RAE definition. 40 I verified that parchment, like pergamino, is made of animal skins to assure that they are equivalent terms (http://www.merriam-webster.com/dictionary/parchment). 41 In English it is not correct to end a list with an elipses to communicate the idea that it continues, the word etcetera (or its abreviation) should be used instead. 42 Modulation (Gerardo Vásquez Ayora, 1977) Here I depart a bit from the TO with the use of “give us perspective on” for the verb conocer, however because its use is incongruous with the verbs to know or to understand, I try to communicate the same idea with a different set of words. For Vázquez Ayor’s definition, see Annex 1. 43 I use a more general term here than tierras italianas because I have already intdicated in the same sentences that Goya was in Italy. This way I don’t repeat the same work or employ pairings that would seem awkward in English, the way that the direct translation (Italian lands) would. 36 Representa un pasaje de la mitología clásica, relato tomado de “La Metamorfosis “ de Ovidio en el que se narran los amores de la Diosa Venus con el bello Adonis. Nos presenta el desdichado desenlace en el que Venus encuentra el cuerpo de Adonis, muerto por el ataque de un jabalí tras una cacería. Iconografía utilizada por artistas de la talla de Tiziano, Rubens o Poussin, e inspirada en la obra de Giaquinto del mismo título de 1732, de la Villa della Regina en Torino. Sigue los modelos clásicos en la composición y factura, de acuerdo con el clasicismo romano, haciendo todavía uso de soluciones barrocas. It portrays an event from classic mythology, Ovid’s The Metamorphoses44 that narrates the love story of the goddess Venus and the handsome Adonis. It depicts the tragic ending in which Venus finds Adonis’s body after he was killed by a wild boar attack in a hunt. This iconographic image, used by artists in the league of Tiziano, Rubens, and Poussin was inspired by Giaquinto’s 1732 work of the same title of the Villa della Regina in Turin. Its composition and scale follow the classical models and its use of Baroque solutions is characteristic of Roman classicism. 44 Title and author’s name in English verified at http://en.wikipedia.org/wiki/Metamorphoses. 37 IV. ZARAGOZA. EL ORATORIO DEL PALACIO DE SOBRADIEL IV. ZARAGOZA. THE SOBRADIEL PALACE ORATORY. A su regreso a Zaragoza desde Italia, empieza a ser apreciado como pintor entre las elites de la ciudad, los nobles y la iglesia, y así es como recibe los primeros encargos de importancia. Realiza la decoración de la bóveda del Coreto de la Basílica del Pilar, que marca el inicio de su primer ciclo de pintura religiosa. En estas mismas fechas ejecutó las pinturas murales para la capilla de la Cartuja de Aula Dei, el friso de mayor tamaño de toda su obra. Corresponde a este momento su trabajo en el oratorio del Palacio de los condes de Sobradiel, en la Plaza del Justicia de Zaragoza (hoy sede del Colegio Notarial). En él desarrolla un programa iconográfico impuesto por los condes, basado en sus devociones religiosas. De las siete obras que Goya realiza para decorar las paredes de la estancia, el Museo expone tres: El sueño de San José, San Upon his return to Zaragoza from Italy, Goya began to be seen as a valuable artist by the nobles, the Church, and the city’s elite, which earned him his first important commissions. He completed the decoration of the cupola of the small choir in the Basilica Our Lady of the Pillar45, which marks the beginning of his first cycle of religious pieces. At the same time, he painted the frescoes for the Aula Dei Chapel of the Carthusian monastery, the largest wainscot of his career. This moment also coincides with his work on the oratory in the palace of Count and Countess Sobradiel (now headquarters of the Society of Notaries), where he depicts an iconographic series commissioned by the counts based on their religious devotions. The Museum displays three of the seven works that Goya created to decorate the palace walls: Saint Joseph’s Dream, Saint Cajetan, and 45 Use of the term in English documented at http://www.sacred-destinations.com/spain/zaragoza-basilica-el-pilar. 38 Cayetano, San Vicente Ferrer. Las restantes obras están dispersas por distintas colecciones: :“La Visitación de María a su prima Santa Isabel” (paradero desconocido) “San Joaquín”. Museo Camón Aznar, Zaragoza “Santa Ana”. Museo Camón Aznar, Zaragoza “Entierro de Cristo” . Museo Lázaro Galdiano. Madrid Aunque ha aprendido mucho en Italia todavía muestra indecisión en sus planteamientos iconográficos y no duda en copiar de los grabados que sin duda el ha estudiado en sus años de formación con Luzán. Así en La Visitación se inspira en el grabado de Carlo Maratta. Y toma modelo del francés Simón Vouet para El sueño de San José” y “Entierro de Cristo”. En 1921, las pinturas fueron arrancadas de su lugar y pasadas a lienzo, este hecho propició la dispersión del conjunto. Saint Vicente Ferrer. The remaining pieces are now dispersed through various collections: The Visitation of Mary to Her Sister, Santa Isabel (location unknown), Saint Joachim (Camón Aznar Museum, Zaragoza), Saint Anne (Camón Aznar Museum, Zaragoza), The Burial of Christ (Lázaro Galdiano Museum, Madrid). Though Goya learned a great deal in Italy, he still demonstrates indecision in his iconographic approach and doesn’t hesitate to copy the engraving that he surely studied during his apprenticeship under Luzán. The Visitation, is based on an engraving by Carlo Maratta, while Saint Joseph’s Dream and The Burial of Christ are based on works by the French artist, Simon Vouet. In 1921, the paintings were stripped from their walls and transferred to canvas, an act that led to the series’ dispersion. El Sueño de San José Hacia 1772. Óleo sobre muro transpasado a lienzo. Compra: suscripción popular, 1965 Saint Joseph’s Dream Circa 1172. Oil on wall transferred to canvas. Purchase: public fundraiser, 1965 39 Pintura mural al óleo traspasada a lienzo, formaba parte del programa iconográfico del oratorio de los Condes de Sobradiel. Representa el sueño de San José, tomado del Evangelio de S. Mateo; momento en que el arcángel San Gabriel se presenta ante San José para decirle que no dude en aceptar a la Virgen María. Iconografía que toma como modelo un cuadro del pintor francés Vouet, identificado a través de un grabado de 1640 de Michel Dorigny. Pintura de juventud de Goya, tras su regreso de Italia, refleja todavía el gusto barroco, siguiendo los modelos clásicos para la composición. Arquitectura en la que se integran las figuras de minucioso dibujo y gran riqueza cromática, de tonalidades intensas verdes y rojas que resaltan sobre fondo opaco, evoca la técnica de Corrreggio. Las figuras principales destacan por su rotundo volumen y el dibujo esta resuelto en marcadas diagonales. This oil mural, later transferred to canvas, was part of the iconographic series of the Sobradiel Palace oratory. It depicts the moment in Saint Joseph’s dream, taken from the Gospel of Matthew, when the Archangel Gabriel appears before Saint Joseph to tell him not to doubt welcoming the Virgin Mary into his home46. The iconography uses the piece by the French artist, Vouet, as a model that was identified by an engraving47 from the year 1640 by Michel Dorigny. In their adherence to classic models, the composition of the paintings from Goya’s young adulthood, after his return from Italy, still reflect a taste for Baroque style. The architecture in which the minutely detailed figures are situated, and the way the rich, chromatic colors with intense hews of greens and reds stand out against a dark background evoke Correggio’s technique. The principal subjects are prominent thanks to their full figures and marked placement on the diagonals. San Cayetano Hacia 1772. Óleo sobre muro traspasado a Saint Cajetan Circa 1772. Oil on wall transferred to canvas. 46 Addition (Eugene A. Nida, 1964): Here I depart slighlty from the TO, providing more information than the vague original. I think that this addition (Appendix 2) is supported by the fact that it corresponds with the description in the Museum’s guide, “el ángel comunica a San José en sueños que el hijo que espera María es el hijo de Dios y no tema recibirla en su casa” (Goya, Museo de Zaragoza, Exposición permanente). 47 The term grabado could be translated as etching or engraving. Both terms are used in English and differentiate the execution process. (http://www.moma.org/collection/theme_index.php?start_initial=A&end_initial=M). 46 FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos 1746 – Burdeos 1828) FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos 1746 – Bordeaux 1828) El apóstol Santiago y sus discípulos adorando a la Virgen del Pilar Hacia 1775. Óleo sobre lienzo. Depósito: Colección Rosilló, Madrid, 2013 Iconografía mariana que representa el conocido pasaje acaecido en el año cuarenta, en el que la Virgen del Pilar, se presenta en carne mortal ante Santiago y sus discípulos que se encontraban en la ciudad de Zaragoza. La pintura de composición triangular, presenta en primer plano a Santiago arrodillado ante la Virgen, porta un báculo en su mano derecha y en su hombro izquierdo muestra las veneras o conchas de peregrino. A ambos lados, grupos de apóstoles observan asombrados la escena, entre ellos destaca la figura de un joven ataviado según la moda diocechesca, interpretado por algunos estudiosos como un autorretrato del propio pintor. El cromatismo a base de tonalidades vivas y luminosas, recuerdan a los utilizados por Goya para uno de los altares de la iglesia de San Francisco el Grande: La predicación de San Bernardino de Siena. St. James and His Disciples Adoring Our Lady of the Pillar Circa 1775. Oil on canvas. Deposit: Collection Rosilló Madrid, 2013. This painting is an iconography of Mary that depicts the well-known event that occurred in the year 40 AD, when the Virgin of the Pillar appeared in flesh and blood before St. James and his disciples in the city of Zaragoza. In the triangular composition of the painting, St. James is found kneeling in front of the Virgin in the foreground. He is holding a staff in his right hand and on his left shoulder he bears pilgrim’s shells. On either side, groups of apostles observe the shocking scene. A young man dressed in 18th century fashion, whom some have interpreted as a self-portrait of the artist stands out among them. The bright, lively tones resemble the color palette used by Goya in The Sermon of Saint Bernardino of Siena in one of the altars of the Church of San Francisco el Grande. 47 Esta iconografía fue repetida en varias ocasiones por Goya, encontrándola ya en las puertas del armario de las reliquias de Fuendetodos. Esta pintura, realizada hacia 1775, pone de nuevo en contacto a Goya con la ciudad de Zaragoza, en donde ya había realizado la pintura al fresco del Coreto de la Basílica del Pilar. Su técnica depurada, el cromatismo y la solución técnica de los personajes se asemeja a su producción de cartones para la Real Fábrica de tapices de Madrid. Goya repeated this iconography several times; it can be found on the doors of the Fuendetodos’s armoire of relics. This painting, completed circa 1775, renews Goya’s contact with the city of Zaragoza, where he had already painted the frescoes of the small choir in the Basilica Our Lady of the Pillar. His careful technique, wide color palette, and the precise portrayal of the subjects are similar to the models he produced for the Royal Tapestry Factory in Madrid. 48 San Luis Gonzága meditando ante un crucifijo Hacia 1798. Óleo sobre lienzo. Compra: 1991 Este cuadro fue pintado por Goya para uno de los altares de la Iglesia de las Salesas Nuevas de Madrid fundada en 1798, orden devota del Sagrado Corazón de Jesús, como los Jesuitas en un momento en que los sectores projesuiticos volvían a ganar terreno en los ambientes religiosos y políticos. San Luis Gonzága persona de noble linaje, ingresó con tan solo 18 años en la Compañía de Jesús, practicó un exacerbado ascetismo hasta su fallecimiento a los 24 años, víctima de una epidemia. Fue canonizado en 1726 por Benedicto XIII. Pintura que aun reflejando elementos propios del Barroco: paño de pureza que sujeta el crucifijo y el motivo de Vanitas, utiliza una técnica pictórica en la línea neoclásica que se ve plasmada por un fino modelado de la figura del Santo. Saint Aloysius Gonzaga meditating before a crucifix Circa 1798. Oil on canvas. Purchase: 1991. This piece was painted by Goya for one of the altars of the Church of the New Salesians of Madrid, founded in 1798. The order, like the Jesuits, showed devotion to the Sacred Heart of Jesus in a moment when the pro-Jesuit sectors began to regain sway in political and religious circles. Saint Aloysius Gonzaga, who came from noble lineage, enlisted in the Society of Jesus when he was just 18. He practiced extreme asceticism until his death at 24 when he fell victim to an epidemic. He was canonized in 1726 by Benedict XIII. Although this painting still reflects Baroque elements, such as the cloth of purity with which he holds the crucifix as well as the Vanitas motif, Goya employs a neoclassic painting technique, which is observed in the fine, molded figure of the Saint. 49 VII. GOYA PINTOR DE RETRATOS Nada se descubre al decir que Goya es un gran retratista. Retrata a personajes de todas las clases sociales de su época, del rey al mendigo. No se deja deslumbrar por el halago, cuando hace un retrato sólo ve a la persona con sus vicios y virtudes, con simpatía o con antipatía. Recoge de Velázquez el retrato psicológico del personaje y de los retratos ingleses la elegancia de los nobles. De los retratos de Goya se dice que son prerrománticos por la expresión del carácter; realistas por los tipos humanos que retrata, e impresionista por su pincelada suelta, a veces con gruesos empastes modelada con espátula. En 1789 es nombrado Pintor de Cámara y retrata a los nuevos reyes, es el momento en que Goya pudo pensar que se hallaba en la cima de su gloria. De este momento son los retratos de los reyes Carlos IV y María Luisa que expone el Museo. VII. GOYA, PAINTER OF PORTRAITS It’s obvious to say that Goya was a great portrait artist. He painted personalities of his day from all social classes, from beggar to king. He didn’t allow himself to succeed through flattery; when he painted a person only the subject was seen, with their virtues and vices, in their decency or indecency. From Velazquez, he acquired the technique of painting psychological portraits, and from English portraits, the elegance of the nobility. In terms of Goya’s portraits, it is said that they are pre-romantic for their communication of character, realist for the type of people he drew, and impressionist for their free and sometimes heavy brushstroke molded with a spatula. In 1789, he was named the painter of the court and executed portraits of the new kings. It was this moment that allowed Goya to believe that he had reached the height of his glory. The portraits of King Charles IV and Queen María Luisa that the museum has on display are from this period. 50 Goya es el retratista de los ilustrados, ejecuta magnificas obras en las que habita el espíritu de esperanza en un nuevo orden social. Los retratos que realiza a partir de 1800 muestran una tendencia definida por la inclusión del modelo en un fondo neutro, concentrando la atención sobre el rostro del retratado. A partir de 1815 potencia una paleta cromática restringida, usará fundamentalmente el marrón y el negro, dejando el contraste cromático en los detalles de la vestimenta y en las carnaciones de las figuras. Buen ejemplo de esta tendencia son los retratos del Duque de San Carlos y del rey Fernando VII, expuestos en esta sala. Goya was the portrait artist of the erudite class. He painted marvelous works in which the spirit of faith in the new social order resided. The portraits that he painted after the year 1800 reveal a tendency defined by the inclusion of the model on a neutral background, drawing attention to the subject’s face. After 1815, he capitalizes on the use of a confined color palette, predominately using browns and blacks and providing contrast in the clothing’s details and the subjects’ skin tones. The portraits of the Duke of San Carlos and of King Ferdinand VII, displayed in this room, are good examples of this tendency.55 Retrato del Rey Carlos IV 1789. Óleo sobre lienzo. Depósito: Museo del Prado, 1972 Junto con la obra siguiente titulada “Retrato de la Reina María Luisa” pertenece a la serie de primeros retratos oficiales que Goya realiza con motivo del inicio del reinado de la pareja en 1788. No hay constancia de que Goya retratase a Carlos y María Luisa siendo Portrait of King Charles IV 1789. Oil on canvas. Deposit: Prado Museum, 1972 This painting, along with the next work, titled Portrait of Queen Maria Luisa, belongs to the series of the first official portraits that Goya painted for the initiation of the couple’s reign in 1788. There is no evidence that Goya ever painted portraits of Charles or María Luisa 55 Reordering (Joseph L. Malone, 1988) (Appendix 3): in terms of the placement of the subject and the verb, the sentence structure is less flexible in English than in Spanish. This sentence has been reordered so that the subject precedes the verb. 51 Príncipes de Asturias. Destaca en la ejecución del lienzo la calidad de las telas y el retrato psicológico del personaje. Pertenecen a la colección del Museo del Prado, con anterioridad al depósito en nuestro Museo se exhibieron, desde 1925 a 1961, en el Museo de San Telmo de San Sebastián. Se considera que con la iconografía que nos ocupa, hay en el catálogo de obras de Goya cuatro retratos originales de nuestro artista; otros seis retratos están catalogados como réplicas de taller, e incluso alguno atribuido a Rafael Esteve. while they were Prince and Princess of Asturias. The canvas details the quality of the fabrics and the psychological portrait of the subject. These portraits belong to the Prado Museum’s collection. Before their deposit in this museum, they were displayed in the Saint Telmo Museum in San Sebastian from 1925 to 1961. For the painting in question, it is believed that there are four portraits the Goya’s catalogue that are originals of the artist, another six that are catalogued as workshop replicas, and even a few attributed to Rafael Esteve. 52 Retrato de la Reina María Luisa 1789. Óleo sobre lienzo. Depósito: Museo del Prado, 1972 Pareja del anterior y por lo tanto de la misma serie. En estos retratos oficiales Goya sigue los modelos en cuanto a composición y color que ya utilizara Velázquez, al que consideraba su maestro. Otra influencia velazqueña en sus retratos es la búsqueda de profundizar en el temperamento del modelo para conseguir un reflejo de su personalidad en un “retrato psicológico” . En el lienzo junto a detalles de calidad, como el sombrero que luce la reina, se advierten zonas torpemente tratadas, como son sus manos. Al ser Pintor del Rey, Goya dedica gran parte de su tiempo a realizar retratos reales, tarea en la que se hace ayudar por un buen número de pintores, entre los que destacan Rafael Esteve y Ascensió Juliá. Este lienzo como el anterior se considera una replica del taller de Goya. Portrait of Queen María Luisa 1789. Oil on canvas. Deposit: Prado Museum, 1972. This is the partner of the anterior painting and, therefore, part of the same series. In terms of the composition and color of these official portraits, Goya follows the example of Velázquez, whom he considered to be his mentor. Another influence of Velázquez that can be seen in the portraits is the attempt to uncover the temperament of the subject in order to achieve a reflection of his or her personality in a psychological portrait. The canvas, as well as its details of quality, like the queen’s hat and hands, inform us of poorly executed areas. Being the king’s painter, Goya dedicated a large part of his time to royal portraits, a task that demanded the help of a good number of painters; among them Rafael Esteve and Ascensió Juliá stand out. This canvas, as well as the previous, is believed to be a replica from Goya’s workshop. 53 Retrato del Duque de San Carlos 1815. Óleo sobre lienzo. Depósito: Canal Imperial de Aragón, 1921. Firmado y Fechado: “El Excmo. Sr. Duque de Sn. Carlos. Por Goya año 1815” Magnífico retrato de cuerpo entero, quizá uno de los mejores retratos masculinos salido de la paleta goyesca. Goya hace un alarde de calidad en una composición madura, tanto desde el punto de vista técnico como desde el punto de vista de captación de los rasgos psicológicos del personaje. Don José Miguel de Carvajal y Vargas, duque de San Carlos, mantuvo fidelidad a Fernando VII durante toda su vida. El rey le compensó haciendo de él la segunda autoridad del Reino, fue embajador en París y Viena. Probablemente el artista le agradece su exoneración de los cargos de afrancesado con este lienzo que podríamos denominar como “retrato real”, pero es fiel a sí mismo y no se reprime al reflejar en el rostro del retratado su característica de “corto de vista” en alusión a su desastrosa acción política Portrait of the Duke of San Carlos 1815. Oil on canvas. Deposit: Imperial Canal of Aragon, 1921. Signed and dated: The most excellent Duke of San Carlos. By Goya in the year 1815. This magnificent, full-body portrait might be one of the best masculine portraits that emerged from Goya’s palette. From a technical perspective as well as in its capturing of the psychological traits of the subject, Goya marks his quality in this mature composition. Don José Miguel de Carvajal y Vargas, the duke of San Carlos, remained faithful to Ferdinand VII throughout his life and the king compensated him by making him the realm’s second authority. He was an ambassador in Paris and Vienna. With this canvas, which could be considered a royal portrait, the artist is probably thanking the Duke for exonerating him from the accusations of being a French collaborator. However, he remains faithful to himself and doesn’t repress the reflection of the subject’s characteristic short sightedness in his face, an 54 allusion to his disastrous political actions. Retrato del Rey Fernando VII 1815. Óleo sobre lienzo. Depósito: Canal Imperial de Aragón, 1921. Firma apócrifa en la zona inferior izquierda: “Fco. Goya”. Estamos ante uno de los mejores retratos del rey que Goya realiza una vez terminada la Guerra de la Independencia, al regreso de Fernando VII a España. Es una obra de corte oficialista y propagandístico de la monarquía en el que el rey aparece representado con gran frialdad y hasta antipatía. No parece que las relaciones personales del pintor y su modelo fueran un ejemplo de cordialidad. Junto con la obra Retrato del Duque de San Carlos fue encargada al pintor en septiembre de 1814, por la Junta del Canal a propuesta de Martín de Garay nombrado poco antes protector del dicha institución. Por su trabajo Goya percibió la cantidad de 19.080 reales de vellón que le fueron pagadas en julio de 1815, fecha en la que ya Portrait of King Ferdinand VII 1815. Oil on canvas. Deposit: Imperial Canal of Aragon, 1921. Apocryphal signature at the lower-right, “Francisco Goya.” We are before one of the best portraits that Goya painted of the king after the War of Independence, when King Ferdinand returned to Spain. It is an official work of the court, a piece of the monarchy’s propaganda in which the king is represented with distant or even disagreeable air. It doesn’t appear that the painter and his subject were on cordial personal terms. Along with the work, Portrait of the Duke of San Carlos, this piece was commissioned in September of 1814 by the Regional Government of the Canal at the request of Martín de Garay, who had been named the steward of the institution shortly before. For his work, Goya received the quantity of 19,080 Spanish Reals that were paid to him in July 1815, a date by which these very notable 55 estaban acabadas tan notables obras. works had already been completed. Don Luis María de Borbón y Vallabriga Depósito: Fundación Plaza, Zaragoza 2006. Retrato del primer hijo del Infante don Luis de Borbón y de doña María Teresa de Vallabriga, realizado por Goya durante su estancia en Arenas de San Pedro (Ávila). El niño viste traje de corte con casaca, chaleco y calzón corto en azul-añil, los colores de la Casa de Borbón. El entorno ambientado con elementos cartográficos, desvela una de las aficiones del protagonista que se encuentra componiendo el puzzle de un mapa, en su mano derecha porta una de las piezas, que corresponde a Madrid, Reino de Toledo y Cuenca y en su mano izquierda sostiene un compás. Sobre un sillón se apoya un mapa de Geografía Europea con la inscripción: “Señor D. Luis María, hijo de su alteza serenísimo Infante D. Luis y de la muy ilustre Doña María Teresa Vallabriga a los seis años y tres meses de edad”. Esta obra hace pareja con el retrato de su hermana María Teresa, representada a los dos años de edad, en la Nacional Gallery de Luis María de Borbón y Vallabriga Deposit: Plaza Foundation, Zaragoza, 2006 This portrait of the first child of Infante Luis de Borbón and María Teresa de Vallabriga was executed by Goya during his time in Arenas de San Pedro (in Ávila). The boy is dressed in a tailored suit made up of a jacket, vest, and breeches in indigo-blue, the colors of the Borbón House. The scene, decorated with cartographic elements, reveals the interests of the protagonist, who is portrayed working on a puzzle of a map. In his right hand he is holding one of the pieces, which corresponds to Madrid, the Reign of Toledo, and Cuenca, and in his left, a compass. Against the chair, leans a map of European geography with the inscription: Don Luis María, son of your most serene grace Infante Don Luis and the very distinguished Doña María Teresa Vallabriga, at the age of six years and three months. This piece is partner to the portrait of Luis Maria’s sister depicted at age two and is found in the Washington National Gallery. 62 develop, dignified, facsimile, incipient, maintenance, original, portray, reproduce, resume, sketch, subsistence 7. Verification of equivalent terms (English) Art Index (MoMA) Electronic single-language dictionary Consultation with art professional MoMA Art Terms; http://www.moma.org/collection/theme_inde x.php?start_initial=A&end_initial=M Dictionary.com; http://dictionary.reference.com/ Del Feild, art teacher, BA in Art Education. 8. Parallel texts (English) “Brux Romanesque Church” Collection Online, The British Museum Collection 1 Guide, Room 201, Reina Sofía National Museum (English version) Miró Exhibition at Seattle Art Museum (online version) http://www.ouvroir.com/brux/e_paint.php http://www.britishmuseum.org/research/coll ection_online/search.aspx?people=25692&p eoA=25692-1-7&view=list&page=10. http://www.museoreinasofia.es/en/collection /room/room-201 http://www.seattleartmuseum.org/exhibition s/miro 63 VII. GLOSSARY OF ART TERMINOLOGY SPANISH ENGLISH RESOURCES EMPLOYED al fresco fresco Del Feild barroco Baroque None boceto sketch, outline, draft RAE59, WordReference60 claroscurista chiaroscuro Del Feild61 coreto small choir Wikipedia: “Adoration of the Name of God”62 empaste (pincelada empastada) heavy brushstroke Ruth Villa Que friso wainscot RAE, Ruth Villa Que63 grabado etching or engraving RAE, MoMA Art Terms64 papel verjurado laid paper RAE, Linguee65, Glossary of Paper Terminology66 pechinas pendentive RAE, Merriam-Webster67 rococó rococo None sanguina sanguine Dictionary.com68, Del Feild trazo line (pencil), stroke (brush) RAE, WordReference 59 Electronic version of the Spanish language dictionary, Real Academia Española; http://www.rae.es/. 60 Electronic multilingual dictionary, WordReference; http://www.wordreference.com/ 61 Consulted Del Feild, art teacher, BA in Art Education. 62 http://en.wikipedia.org/wiki/Adoration_of_the_Name_of_God. 63 Consulted Ruth Villa Que, BA in Art History, MA in Museum Administration. 64 Electronic glossary of art terminology; http://www.moma.org/collection/theme_index.php?start_initial=A&end_initial=M. 65 Translation search engine, Linguee; http://www.linguee.com/. 66 Electronic glossary, Glossary of Paper Terminology; http://www.artpaper.com/glossary.html. 67 Electronic version of the English language dictionary, Merriam-Webster; http://www.merriam-webster.com/. 68 Electronic English language dictionary, Dictionary.com; http://dictionary.reference.com/ 64 VIII. CONCLUSION Thus, inadvertently, they developed a shared language, rewriting what they read, translating one another mutually. The more they worked together, the more similarities they discovered between love and translation, understanding a person and translating a text, retelling a poem in a different language and putting into words what the other was feeling. Both exercises were as happy as they were incomplete—doubts always remained, words that needed changing, missed nuances. -Andrés Neuman, The Traveller of the Century As the passage above implies, learning to translate is about learning how to communicate nuances. Accordingly, one of the timeless questions for translators has been how communicate these nuances across languages systems and cultures. How does one strike a balance between being faithful to the original text and allowing oneself to use more creative or culturally appropriate means of communicating an idea in a different language? Many authors and translators have shared their opinions on the matter. Jorge Luis Borges once put forth the now commonly known tongue-in-cheek response, “The original is unfaithful to the translation.” Yet, however enigmatic the this question (which surely has as many replies as translators in the world) may be, the Master in Translation of Specialized Texts, along with this project in particular, have helped me come up with some tools that help me answer this question for myself. Through the translations of many and varied texts over the last year, I have come to the conclusion that there are a couple of aspects, often ignored in the debate of literal versus loose translation, that play in key roles in how to respond: the target audience and the function of the document to be translated. Identifying these two items is essential to the production of a translation that communicates clearly and fulfills its intended purpose. Knowing the target audience is vital because, as is so often observed, one’s interpretation of a text is bound to their worldview, knowledge, and life experience in combination with a long list of other factors. If you know whom you are writing to, decisions on word choice and syntax become much easier to make. Similarly to the way you adjust your speech in a conversation depending on your interlocutor, knowing your audience helps you make decisions about how to communicate. 65 Translating with the document’s purpose in mind is also advantageous because it provides you with a foundation; it grounds your translation and helps you stay focused. It also helps answer questions about when it is appropriate to change a passage. For example, in this project, because the text in question’s principle goal was to educate and help visitors understand the paintings, I concluded that adjustments that were clarifying or that added needed explanations were justified. Unsurprisingly, I found that the fact that I was completing a real translation assignment facilitated the process. Having seen the text in the Museum of Zaragoza, speaking with the Museum’s administrators, and having a definition of my target audience eased the process. It was also motivating to know that my work would later be put to use. On a personal note, I felt like I was connecting in a concrete way with the history of the city that has housed my studies and me over the past year. In conclusion, in future translations, when I am confronted with a situation in which I am struggling between various possible translations, or the question of a more literal or more creative approach, I will remember to center myself on the target audience and the intended function, and move forward from there. 66 IX. BIBLIOGRAPHY IX.1. SOURCES REFERENCED FOR THE COMMENTARY IX.2. SOURCES REFERENCED FOR THE TRANSLATION IX.1. SOURCES REFERENCED FOR THE COMMENTARY DE MIGUEL, OLIVIA in interview by Chema R. Morais. “El resultado de la traducción es un texto igual y distinto a la vez.” Heraldo de Aragón. Zaragoza: March 8, 2014. GIL BARDAJÍ, ANA. “Procedimientos, técnicas, estrategias: operadores del proceso traductor.” Rercercat, 2004. NEUMAN, ANDRÉS. The Traveller of the Century. Translated by Nick Caistor and Lorenza Garcia. London: Pushkin Press, 2012. NORD, CHRISTIANE. Text Analysis in Translation. Amsterdam: Rodopi, 1998. IX.2. SOURCES REFERENCED FOR THE TRANSLATION Print Materials ARGUÍS REY, MARISA AND GÓMEZ DIESTE, CARMEN. Goya: Museo de Zaragoza, Exposición permanente. Zaragoza: Gobierno de Aragón. Electronic Articles and Webpages BROWN, GAVIN. “Brux Romanesque Church.” Ouvroir Hermetique. http://www.ouvroir.com/brux/e_paint.php. HAYES, HOLLY. “El Pilar Basilica, Zaragoza.” Sacred Destinations. http://www.sacreddestinations.com/spain/zaragoza-basilica-el-pilar. 67 “Metamorphoses.” Wikipedia. http://en.wikipedia.org/wiki/Metamorphoses. “Provincial Museum of Zaragoza.” The Roman Heritage in Aragon. http://catedu.es/aragonromano/muprzaen.htm. SOUTH, HELEN. “Art Paper Surface Types.” About Drawing/Sketching. http://drawsketch.about.com/od/materials/tp/paper-surfaces.htm “The Victorious Hannibal Seeing Italy from the Alps for the First Time.” Museo Nacional del Prado. https://www.museodelprado.es/index.php?id=3646&L=5. “The School Scene.” WikiArt: Visual Art Encyclopedia. http://www.wikiart.org/en/franciscogoya/the-school-scene. WEEMS, ERIK. "Hannibal the Conqueror, viewing Italy from the Alps for the first time." Goya. http://eeweems.com/goya/goya_lostpainting.html. Dictionaries and Glossaries “Art Terms” The Museum of Modern Art. http://www.moma.org/collection/theme_index.php?start_initial=A&end_initial=M. Diccionario de la Real Academia Española. http://www.rae.es/. Dictionary.com. http://dictionary.reference.com/. Merriam-Webster. http://www.merriam-webster.com/dictionary/. Linguee: Dictionary and Search Engine. http://www.linguee.com/ WordReference.com. http://www.wordreference.com/. 68 APPENDIX TABLES OF TRANSLATION STRATEGIES AS DEFINED BY VARIOUS AUTHORS69 APPENDIX 1. GERARDO VÁZQUEZ AYORA 69 Tables taken from the article by Ana Gil Bardají. 69 70 APPENDIX 2. EUGENE A. NIDA 71 APPENDIX 3. JOSEPH L. MALONE