Why is Carl Jung dancing in the Streets of Death? Because one of his favorites among the living--artist James Magee, the creator of the colossal desert stonework, The Hill, and "the alleged" anima incarnate of the mysterious artist Annabel Livermore--has concocted this brew of poems and letters from the lands of Ordinary and Surreal. The poems flutter like butterflies from his imagination as he creates large steel assemblages. Weirdly, "Letters to Goya" are found pieces from 1955, from the rickety typewriter of the Duchess of Alba, who in (sur)real life is an old lady who wheel-chairs around the Waikiki Trailer Park in Sweetwater, Texas. Are the letters real? Well, yes. And no Tonight a cold rain falls in Tucson. Under an overpass I see you standing stark-naked, Juan, headlights streaming by, you toweling off with a wing of a blue and yellow bird found moments ago near a storm sewer, as if water were confessing of white tile, a room without walls, really where earlier you had imagined yourself as a bearded ancient, a Mesopotamian Lord kneeling down in the wet grass near the freeway to sing to an open field. James Magee and his partner, actress Camilla Carr, live in El Paso, Texas, in the home of Annabel Livermore. Kerry Doyle is the Director and Curator of the Rubin Center for the Visual Arts (University of Texas at El Paso), and a widely published scholar and respected curator of Latin-American and United States/Mexico Border arts.

Goya corresponded regularly with members of the aristocracy and the monarchy, as well as with friends. His surviving letters reveal a highly emotional man, prepared to state his feelings as passionately to the authorities of a cathedral as to a close friend. His letters make few concessions and are literary works in their own right. --book cover.

In the Letters to Goya section are "reproduced" letters from the 13th Duchess of Alba (living in a Sweetwater, Texas trailer park) to her artist friend Francisco Goya at the Spanish royal court; in the Titles section are Magee's poems to some of his sculptures.

Francisco Goya's correspondence to Martin Zapater establishes a connection between Goya's private life and his work. The correspondence reflects the painter's daily life in Madrid during the period from 1775 to 1800; he refers to friends and colleagues, entertainers, bullfighters, and work in progress. The letters are translated within the context of their time, with provides biographical data and notes.

The first major English-language biography of Francisco Goya y Lucientes, who ushered in the modern era The life of Francisco Goya (1746–1828) coincided with an age of transformation in Spanish history that brought upheavals in the country's politics and at the court which Goya served, changes in society, the devastation of the Iberian Peninsula in the war against Napoleon, and an ensuing period of political instability. In this revelatory biography, Janis Tomlinson draws on a wide range of documents—including letters, court papers, and a sketchbook used by Goya in the early years of his career—to provide a nuanced portrait of a complex and multifaceted painter and printmaker, whose art is synonymous with compelling images of the people, events, and social revolution that defined his life and era. Tomlinson challenges the popular image of the artist as an isolated figure obsessed with darkness and death, showing how Goya's likeability and ambition contributed to his success at court, and offering new perspectives on his youth, rich family life, extensive travels, and lifelong friendships. She explores the full breadth of his imagery—from scenes inspired by life in Madrid to visions of worlds without reason, from royal portraits to the atrocities of war. She sheds light on the artist's personal trials, including the deaths of six children and the onset of deafness in middle age, but also reconsiders the conventional interpretation of Goya's late years as a period of disillusion, viewing them instead as years of liberated artistic invention, most famously in the murals on the walls of his country house, popularly known as the "black" paintings. A monumental achievement, Goya: A Portrait of the Artist is the definitive biography of an artist whose faith in his art and his genius inspired paintings, drawings, prints, and frescoes that continue to captivate, challenge, and surprise us two centuries later.

Collection of letters written to General William Miller, Field Marshall of Peru.

Artists’ Letters is a treasure trove of carefully selected letters written by great artists, providing the reader with a unique insight into their characters and a glimpse into their lives. Arranged thematically, it includes writings and musings on love, work, daily life, money, travel and the creative process. On the theme of friendship, for example, letters provide evidence of a creative community between peers, with support and mutual appreciation that helps to dispel the myth of the artist as solitary genius. Letters between Vincent van Gogh and Paul Gauguin show an ongoing conversation and exchange of ideas. We see mutual admiration between Claude Monet and Berthe Morisot, and Picasso’s quick notes to Jean Cocteau illustrate their closeness. Correspondence, some of which includes sketches and drawings, is reproduced with the transcript and some background and contextual information alongside. The book brings together a collection of treasures found in letters, which in our digital age are an increasingly lost art.