Wolf Vostell’s Joanna the Mad (1980) cycle: iconography, intertextuality and interpretation
Abstract
In the cycle dedicated to Joanna the Mad (1980), Vostell proposes a synthesis of various iconographic resources, whether from classical Spanish painting (particularly Goya) or contemporary painters such as Francis Bacon; but he also seeks to integrate the theme of the famous academicist painting dedicated to the Queen of Castile by Francisco Pradilla into his own creative repertoire and, incidentally, to make references to Spanish popular music. The result of intertextualisation becomes strongly strange and polysemic, but it also reflects the maturity of the German artist's aesthetic mastery at the time of the cycle's elaboration.
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