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Feuchtwanger succeeds in placing the Aragonese master in the midst of a carnivorous environment, surrounded by political hyenas, religious zealots, dependent relatives, and outlandish manipulators. He draws his involvement in painting the foreground of political power, the suspicions of Queen Maria Luisa and the arrogance of Godoy.
He suspends Goya in a perilous period of Spanish and European history: the decline of the ancient regime and the advent of the Napoleonic order. He fabricates in Goya a historical witness of Madrid, Cadiz and Zaragoza, like a Robert Capa in the beaches of Normandy. There the author borrows the painter's brush to immortalize the crux of graphic scenes with his etchings and drawings, ceaselessly warding off the frustrations of deafness and its seal of social degradation, and instill hyperrealism in the vivid colors of his canvases.
It stuck me as pioneering the style employed by the author to sketch chapters based on some of Goya's most renowned paintings ("The Family of Carlos IV," "The Nude Maja," "Portrait of Godoy," and "Queen Maria Luisa Wearing a Mantilla"), albeit leaving off, arguably the finest of his masterpieces, "The Third of May." In retrospect, he makes Goya the ambassador of truth, the eye of the beholder.
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F. wrote it in the manner of a journalist of the year 2000 who was trying to get a picture of the events of these time. (written 1930!)
If you are interested to know why someone like Hitler was actually elected and finally let to WWII, this book will give you the answer.
Written by someone to whom the picture of the well-off jew of the nazi was literally minted, a son of a rich jewish banker-family in Munich, Bavaria, art-coinosseur, privatier and romancier.
F. intensly loved germany and his people but Germany of these days tried to get rid of his rich jewish heritage and F. has to leave for good, first to France and as these was growing hostile, too, to California.
F. never lost his love to bavaria and if you want to know why, and how the holocaust begun, thats your book.
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