Abstract

According to some critics say, Mahler Hou is a topic of contemporary position of the writer, the Spanish painter's works Bengoa to attract his attention, and affect his literary works; This paper aims to analyze between them both close and complex the relationship. Of course, Ma by the Spanish painters, their experience is shared by the war in Spain, but to be Markov point out Bengoa end of the world to create his own aesthetic. Most people tend to misjudge the works Bengoa chaos of contemporary witness, which account for a large component and ignore the imagination. In the "Saturn. Fate, art and Bengoa ", a book, an attempt to re-Markov" Bengoa genius "of the nature of truth. Markov approach we can assume that personal interests are at stake, because he denied the advantages of work Bengoa, and as their own. His "hope" is a "real" war witnessed the truth of the novel. He must build a resort in the hope for the future of aesthetics, to the despair of reducing the aesthetic works Bengoa, and terminate in the "hope" in possession of considerable weight, is a devastating satire of the game metaphor. According to some critics, André Malraux was a writer addressing contemporary agenda, while Goya, the Spanish painter, caught his attention and made impact on his literary creation; the topic of this article is to analyze the close and complicated relationship between them. Certainly, Malraux was deeply influenced by this Spanish painter as they both experienced the Spanish War, but Malraux had to lose Goya's ideas about the end of the world so as to construct his own aesthetics. Most people often mistakenly see Goya's works as testaments to the chaos of the contemporary world while ignoring the substantial part of imagination in his paintings. In Saturne. Le destin, l'art et Goya, Malraux attempted to restore the truth about the nature of "Goya as a genius." We can assume that Malraux's approach was informed by his personal interests, since he denied all the merits of Goya's works and claimed them as his won. His novel, L'Espoir, is a real testament of the reality of wars. He had to establish an "aesthetics of hope" that appeals to the future so as to eliminate the aesthetics of despair in Goya's works and terminate the destructive irony that was part of the game of metaphors and quite substantial in L'Espoir