Saturne: Peintures noires des hommes de la famille goya

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Bozal, Valeriano, Pinturas Negras de Goya, Antonio Machado Libros, Boadilla Del Monte, Madrid:, 2009, pp. 59-69, 71, 77. Self-portrait (c. 1800) by Francisco de Goya; Francisco de Goya, Public domain, via Wikimedia Commons Moreno de las Heras, Margarita, Goya: pinturas del Museo del Prado, Museo del Prado, Madrid, 1997, pp. 316-319, n. 113. Gudiol, José, Goya, 1746-1828: Biografía, estudio analítico y catálogo de sus pinturas, i, Polígrafa, Barcelona, 1970, pp. 71; 268, n. 221.

Sánchez Cantón, Francisco Javier, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972, pp. 270, n. 763. en) Fred Licht, Goya: The Origins of the Modern Temper in Art, Icon, 1983, 288 p. ( ISBN 0-06-430123-0), p.288 Saturn Devouring His Son can be seen as a reflection of the violence and horror that Goya witnessed during this period, as well as a critique of the abuses of power and the destructive nature of patriarchy. The painting's themes of brutality, oppression, and insanity are all deeply relevant to the political and social context of Goya's time.Interestingly, Goya depicted the two victims as adult men, and not infants, which is echoes the adult figure in his later mural. Additionally, the figure of Saturn appears malevolent in his manner, his eyes are fixed, and he has an unsettling smile or grimace while he eats the figure. Saturn also has the same untidy hair. SALÓN 2º ESCUELA FLAMENCA [...] Dos cientos cincuenta y cuatro. Saturno está devorando a uno de sus hijos de Rubens / Lº / 10.300

M.)- El dios Saturno, devorando á uno de sus hijos.-Figura entera, de tamaño natural.-Cuadro de decoración. / Col. de Cárlos II, Torre de la Parada. / Alto 1,80; ancho 0,87.-L. There are various tones (when a hue is mixed with gray) and tints (when a hue is mixed with white) on Saturn’s skin and legs, which suggest a possible light source. There are also areas of shading, which indicate the contrasts between light and dark areas.

Francisco Goya, Self-portrait at an Easel, 1790-1795. Madrid: Real Academia de Bellas Artes de San Fernando. Who was Francisco Goya? Beruete y Moret, A. de, Goya: composiciones y figuras, II, Blass y Cía, Madrid, 1916, pp. 48, n. 36; 163, n. 89. Construction of the second floor, Junquero argued, didn’t occur until after Goya’s death. Quintana, he maintains, was a simple country home, not a manor house, and couldn’t have housed the 14 massive paintings. Sánchez Cantón, Francisco Javier, Goya y sus Pinturas Negras en la Quinta del Sordo, Rizzoli; Vergara, Milán; Barcelona:, 1963, pp. 49, 69-83. Saturn Devouring His Son by Francisco Goya was painted between 1819 and 1823, during a period of political and social turmoil in Spain. Goya had witnessed the horrors of the Peninsular War, which had raged across Spain for six years and resulted in the deaths of hundreds of thousands of people. The war had been fought between the French and Spanish armies, with many Spanish citizens forced to fight on both sides.

Saturn Devouring His Son was one of six works Goya painted in the dining room. It is important to note that Goya never named the works he produced at Quinta del Sordo; the names were assigned by others after his death. [6] This interpretation of the painting sees it as a reference to the Roman myth (inspired by the original Greek myth), in which Terra (Gaea) foretold that one of the sons of Saturn would overthrow him, just as he had overthrown his father, Caelus ( Uranus). To prevent this, Saturn ate his children moments after each was born, eating the gods Vesta ( Hestia), Ceres ( Demeter), Juno ( Hera), Pluto ( Hades), and Neptune ( Poseidon). His wife Ops ( Rhea) eventually hid his sixth child and third son, Jupiter ( Zeus), on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Unlike the painting, the myths usually portray Saturn/Kronos swallowing his children, and later vomiting them up alive after swallowing the stone, rather than violently tearing them apart as in the painting. [ citation needed] Jupiter eventually supplanted his father just as the prophecy had predicted. Sánchez Cantón, Francisco Javier, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972, pp. 280, n. 798. Licht, Fred (1983). Goya: The Origins of the Modern Temper in Art. Icon. p.288. ISBN 0-06-430123-0. To be sure, the images are not terribly Goya-like in the abstract. There is a new rawness of content, a strange emptiness. They’re cruder, stranger, and unlike other art he or anyone else produced in the 19th century. The Third of May 1808 is Goya’s most famous painting and perhaps the best painting in the Prado. It’s painful to look at. In it, Goya depicts man’s inhumanity to man, not a bloodless heroic affair.Find sources: "Saturn Devouring His Son"– news · newspapers · books · scholar · JSTOR ( July 2023) ( Learn how and when to remove this template message) Goya's late paintings often feature distorted figures, dark colors, and dramatic contrasts of light and shadow. He also became more interested in exploring the darker aspects of human nature, such as madness, violence, and death. The painting is also significant for its departure from the neoclassical style that had dominated Spanish art during the 18th century. Goya's use of chiaroscuro and his expressive, emotional brushwork were a departure from the strict formalism of neoclassicism and foreshadowed the emergence of Romanticism in art. Anecdotes He put them on canvas, albeit with some decided damage due to rudimentary techniques. Later, unable to sell them, he donated the paintings to Spain.