『프라도 박물관에서 보낸 전쟁의 밤』: 혁명적 카니발에 대한 향수 -고야의 그로테스크 미학을 중심으로-

Abstract

Throughout Spain’s artistic tradition, the aesthetic of Francisco de Goya has profoundly influenced generations of artists. Goya’s style is frequently characterized as “grotesque,” a term that Wolfgang Kayser employs to describe the distorted caricatures, etchings, and paintings that evoke discomfort and horror in viewers. However, Mikhail Bakhtin criticizes Kayser’s conception of the grotesque, arguing that it overlooks its deeper roots in popular culture and folk traditions dating back to antiquity. From this perspective, Goya’s drawings—often seen as exemplary of Romantic grotesque—should not be analyzed solely through Kayser’s lens of horror and distortion, but also through Bakhtin’s notion of carnival and folk humor. This study examines Rafael Alberti’s play Noche de guerra en el Museo del Prado, in which Goya’s artworks play a central role in the narrative. In the face of the national crisis brought about by the Spanish Civil War, this paper argues that Alberti invokes Goya’s grotesque aesthetic as a means of defending and preserving the Spanish spirit. Furthermore, the study explores the transformation of the concept of Carnival during Goya’s time and, within that historical and theoretical framework, reinterprets Alberti’s work as a political statement shaped by grotesque tradition.