This October 20 we celebrate the anniversary of the death in the city of Zaragoza, of the great Spanish baroque painter José Luzán y Martín. A prominent member of 18th century Aragonese painting. A teacher whose influence he projected on the great Goya. His death occurred in 1785.
Lujan y Martín would start at the academy of drawing and painting that the sculptor Juan Ramírez Mejandre opened in this city, and after training there, he would later move to Naples where he spent several years completing his artistic training. Returning to Zaragoza, in 1735 he created an academy, which enjoyed notable success as a result of years of extensive experience. Due to his prestige, he was appointed reviewer of paintings by the Spanish Inquisition, and in 1741 he was appointed by Felipe V as a supernumerary painter of the Royal House, where he came to have a great artistic and pictorial knowledge of the rich palace collections that he received. allowed to considerably refine his style.
Style, in his last years close to tenebrism in his early works, where he influenced the young Goya, directing the Academy of Painting and Sculpture of Zaragoza before his death.
Francisco José de Goya y Lucientes, also a native of Zaragoza, was one of his most outstanding students and that would transcend his teacher in notoriety and importance. Goya at that time came without any privilege or perk, since he belonged to a modest family of the middle class of the time, to receive the teachings of his teacher. How much they influenced his pictorial technique in drawings and engravings.
His work always had an underlying feature of naturalism, the reflection of reality without a distorted idealistic vision and always with a deep social commitment as well as an important ethical and moral message in his works and paintings regardless of their aesthetic value.
Learn from mistakes
One of the best-known and most prominent black Paintings that have always fascinated me by Francisco de Goya, is called Cudgel duel or The quarrel.
The traditional interpretation of the painting has been that of two villains battling with their sticks in a desolate place, buried up to their knees. But also since its creation (1819-1823) it has been seen as the fratricidal struggle between Spaniards. Not only in his time, where the opposing positions were those of liberals and absolutists. But like the struggle between the Two Spains with their antagonistic positions and discords that led to the most tragic failure in our History. That it was none other than the Spanish Civil War.
Failure that seemed overcome with the great political pact of the transition. And that unfortunately, today, scars reopen, which seemed already sealed and overcome, with the application of the sectarian historical memory. Where different measuring sticks are accentuated, trying to paralyze or poison again the coexistence achieved.
The complexes and sterile hatreds of the past must definitely be overcome. As Goya denounced in his day and learn from our mistakes. To look cleanly, like the great people that we are, to the future with generosity and optimism. With hope and enthusiasm. And above all, stop manipulating the history of Spain, questioning its legitimacy and undermining its institutions and traditions.
All this because it is unreasonable that is a true attack on political freedoms. A reduction in the rights of opinion and chair. And the most vile and dangerous: trying to reopen the confrontations between the Spanish.