계몽절대군주의 통치이념: 프란시스코 고야의 엘에스코리알 ‘집무실 연작’ 연구 (The Political Ideology of Spain’s Enlightened Monarch: Francisco Goya’s Tapestry Cartoon Series for Carlos Ⅳ’s Office in El Escorial)

서지정보

· 발행기관 : 서양미술사학회
· 수록지 정보 : 서양미술사학회 논문집 / 35호 / 7 ~ 31페이지
· 저자명 : 권연희

초록

This thesis aims to analyze the meaning of a tapestry cartoon series executed by Francisco Goya (1746‐1828) between 1791 and 1792. The series was designed for the office of Carlos Ⅳ (reign 1788‐1808) in El Escorial. In this study, attempts will be made to examine how the political ideal of Carlos IV was visualized in the series.
The cartoon series by Goya is composed of 7 pictures. Four of them were meant to decorate the main walls of the room. These are The Stilt Walkers, The Wedding, Girls at the Fountain, and The Straw Manikin. The remaining three,smaller in size and intended for the space of overdoor, are Boys Climbing a Tree,The Little Giant and The See Saw. The main scenes depict the ordinary lives and pastimes of lower class people. They seem to represent concepts of vices such as arrogance, avarice, lust, ignorance and harassment as well as the dangers these vices entail. The overdoor designs, on the other hand, were not completed due to the illness of Goya. These paintings still seem to allegorically convey the notion of the folly of human beings, through the motif of children playing.
It is quite unique that a sovereign’s office was decorated with scenes of the lower class people. This has to do with the wish of Carlos IV who specifically mentioned that the design should be ‘comic and rustic’. Carlos IV is known to be fond of popular themes, which can be connected to the increase of nationalism in 18th century Spain. In this context, the cultural trend of that time in which ‘majo’ and ‘maja’, low class dandy, played a significant role should also be mentioned. Goya’s previous designs show the life and leisure of the people in an idealized form. In contrast to this, the tapestry cartoons of 1791‐92 portray the mundane people quite realistically. This feature can also be connected to the one‐act plays, called Sainete,which were very popular at that time for their candid and blunt way of describing the lower class people.
The main theme of the cartoon series of 1791‐92 could be thus said to be the concept of the folly of mundane people. This seems to be related to the view Carlos IV had for his own people and subjects. Since the eighteenth century, the vice of ‘folly’ was increasingly associated with the general public and the intellectuals believed that this human ignorance could be enlightened by means of a proper education. From 1780 onwards, Goya frequented with high ranking officials and learned scholars in Spain, who became important patrons of his art. Under the influence of these high class people, he later often dealt with themes concerning contemporary evil customs and human follies in his art works. In the series for the office of Carlos IV, Goya’s work expresses the aspirations of this Spanish ruling class to enlighten the ignorant people by depicting people’s costumes, pastimes, wedding customs as well as realistically depicting the poverty of the lower class. Hence, it could be said that the scenes represented in the tapestry series should be related to the high functions of the office in El Escorial and the distinguished people who visited that room.
The office of Carlos IV was an official space where the sovereign spent his time alone or with his visitors, dealing with domestic and foreign affairs. Highranking officials or foreign diplomats often frequented this room. Goya’s designs could not be finished and did not end up decorating the office, but if they were completed and eventually could be displayed, they would have given glimpses of the life of the lower class people to Carlos IV and other visitors to the room.
Furthermore, they would also have constantly reminded the king and his entourage of the poor people and their folly, i.e. the actual subject of their rule.
Carlos IV was deeply interested in the social welfare and education of the Spanish people, following in his father, Carlos III’s footsteps. Right after Carlos IV was crowned, Spain underwent a politically unstable period which was brought about under the influence of the French Revolution (1789). The Spanish ruling class then advocated a rigid, hierarchical social system and claimed that only a wise monarch with centralized political power could make Spain strong and wealthy.
Goya’s tapestry series of 1791‐92 thus seems to have been intended as a constant reminder for Carlos IV to fulfill his duty as a wise ruler, so that the king could successfully lead his people who were believed to easily fall into follies and dangers in their everyday lives. The tapestries could also have delivered the message to the prominent visitors who entered the office, that the king, in his love for his people, was determined to follow his ideals as a wise sovereign. Therefore, it could be said that Goya’s tapestry series for the king’s office in El Escorial was meant to visualize Carlos IV’s ideology and vision of an absolute monarchy.

영어초록

This thesis aims to analyze the meaning of a tapestry cartoon series executed by Francisco Goya (1746‐1828) between 1791 and 1792. The series was designed for the office of Carlos Ⅳ (reign 1788‐1808) in El Escorial. In this study, attempts will be made to examine how the political ideal of Carlos IV was visualized in the series.
The cartoon series by Goya is composed of 7 pictures. Four of them were meant to decorate the main walls of the room. These are The Stilt Walkers, The Wedding, Girls at the Fountain, and The Straw Manikin. The remaining three,smaller in size and intended for the space of overdoor, are Boys Climbing a Tree,The Little Giant and The See Saw. The main scenes depict the ordinary lives and pastimes of lower class people. They seem to represent concepts of vices such as arrogance, avarice, lust, ignorance and harassment as well as the dangers these vices entail. The overdoor designs, on the other hand, were not completed due to the illness of Goya. These paintings still seem to allegorically convey the notion of the folly of human beings, through the motif of children playing.
It is quite unique that a sovereign’s office was decorated with scenes of the lower class people. This has to do with the wish of Carlos IV who specifically mentioned that the design should be ‘comic and rustic’. Carlos IV is known to be fond of popular themes, which can be connected to the increase of nationalism in 18th century Spain. In this context, the cultural trend of that time in which ‘majo’ and ‘maja’, low class dandy, played a significant role should also be mentioned. Goya’s previous designs show the life and leisure of the people in an idealized form. In contrast to this, the tapestry cartoons of 1791‐92 portray the mundane people quite realistically. This feature can also be connected to the one‐act plays, called Sainete,which were very popular at that time for their candid and blunt way of describing the lower class people.
The main theme of the cartoon series of 1791‐92 could be thus said to be the concept of the folly of mundane people. This seems to be related to the view Carlos IV had for his own people and subjects. Since the eighteenth century, the vice of ‘folly’ was increasingly associated with the general public and the intellectuals believed that this human ignorance could be enlightened by means of a proper education. From 1780 onwards, Goya frequented with high ranking officials and learned scholars in Spain, who became important patrons of his art. Under the influence of these high class people, he later often dealt with themes concerning contemporary evil customs and human follies in his art works. In the series for the office of Carlos IV, Goya’s work expresses the aspirations of this Spanish ruling class to enlighten the ignorant people by depicting people’s costumes, pastimes, wedding customs as well as realistically depicting the poverty of the lower class. Hence, it could be said that the scenes represented in the tapestry series should be related to the high functions of the office in El Escorial and the distinguished people who visited that room.
The office of Carlos IV was an official space where the sovereign spent his time alone or with his visitors, dealing with domestic and foreign affairs. Highranking officials or foreign diplomats often frequented this room. Goya’s designs could not be finished and did not end up decorating the office, but if they were completed and eventually could be displayed, they would have given glimpses of the life of the lower class people to Carlos IV and other visitors to the room.
Furthermore, they would also have constantly reminded the king and his entourage of the poor people and their folly, i.e. the actual subject of their rule.
Carlos IV was deeply interested in the social welfare and education of the Spanish people, following in his father, Carlos III’s footsteps. Right after Carlos IV was crowned, Spain underwent a politically unstable period which was brought about under the influence of the French Revolution (1789). The Spanish ruling class then advocated a rigid, hierarchical social system and claimed that only a wise monarch with centralized political power could make Spain strong and wealthy.
Goya’s tapestry series of 1791‐92 thus seems to have been intended as a constant reminder for Carlos IV to fulfill his duty as a wise ruler, so that the king could successfully lead his people who were believed to easily fall into follies and dangers in their everyday lives. The tapestries could also have delivered the message to the prominent visitors who entered the office, that the king, in his love for his people, was determined to follow his ideals as a wise sovereign. Therefore, it could be said that Goya’s tapestry series for the king’s office in El Escorial was meant to visualize Carlos IV’s ideology and vision of an absolute monarchy.

참고자료

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