Duchess de Alba (Maria del Pilar Teresa Cayetana de Silva Alvarez de Toledo (1762-1802): -fashioned herself after the fiery maja-serves as a flirtatious role-play emblematic of aristocrats during the enlightenment, epitome of spanishness -proactively challenged conventional feminine roles/conduct, elevating national dress to the level of high couture to assert her individualism -Jean-Marc Nattier's Madame AdelaYde-de-france as Diana + Goya's Duchess of Alba as a Maja feature aristocrates in role-playing portraits. Nattier's= young woman in the guise of a goddess, Goya's = duchess in the guise of a lower-class native spanish type -majas considered independent and sassy
-reports of love affairs with Goya/Prime minister Manuel Godoy -pitted against Queen Maria Luisa and Maria Josefa de la Soledad, the countess of Benavente and later the duchess of Osuna -freeing from slavery and adoption of a baby girl, and in her final will, she left her estates and an allowance to those who worked for her -majismo: a cultural phenomenon that embodied the national aesthetic -majeza: quality of having majismo
- Goya traveled to Italy, producing a notebook of drawings revealing his interest in bodily expression -Los Caprichos: tensions and contradictions of the Spanish Enlightenment -various decrees to regulate dress based on social class for fear that sartorial slippage could lead to behavioural slippage -Herder's translations of folk poetry "Treatise on teh origin of language" and "ideas for a philosophy of the history of mankind" helped him appreciate the value of local customs. His work was influential for the development of cultural nationalism. -influential representation of what traits fashioned "pure" Spaniards based partly on the Spanish notion of limpieza de sangre (purity of blood), which served as a means of exclusion for individuals not considered fully Spanish. -casticismo=unchanging purity
-publication of the Discurso político-económico sobre el luxo de las Señoras...
Please join StudyMode to read the full document