Saturne: Peintures noires des hommes de la famille goya

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Below are several of the more common theories you will come across when reading more about Goya’s Saturn. Museo Nacional del Prado, Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 293, n. 798. Higher resolution, from http://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/zoom/1/obra/saturn-devouring-one-of-his-sons/oimg/0/ The Third of May 1808 (1814): This painting depicts the execution of Spanish civilians by French soldiers during the Peninsular War. It is a powerful image of the horrors of war and has been hailed as one of the greatest anti-war paintings of all time. This also ties in with the titles given to the paintings; some scholars suggest that one should avoid trying to liken the paintings with the subject matter too much because we cannot know for sure what Goya’s intention or meaning was for each.

In Saturn Devouring His Son by Francisco Goya, the shape of the painting is primarily rectangular, with the central figure of Saturn dominating the composition. The shape of Saturn's body is twisted and contorted, creating a sense of movement and violence that is echoed in the surrounding forms. The shapes of the other figures in the painting, including the small, vulnerable form of Saturn's son, are also distorted and twisted, contributing to the sense of horror and chaos in the scene. Diego Velázquez: Velázquez painted a portrait of Philip IV of Spain holding a statue of Saturn, which is thought to be a commentary on the king's power and the idea of the ruler as a devourer of his subjects.

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Wilson- Bareau, Juliet; Mena Marqués, Manuela, Goya: el capricho y la invención: cuadros de gabinete, bocetos y miniaturas, Museo del Prado, Madrid, 1993, pp. 160, 166.

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. Salas, Xavier de, Minucias sobre Goya, en Gallego Morell, A.; Soria, A.; y Marín, N.: Estudios sobre Literatura y Arte. Dedicados al profesor Emilio Orozco Díaz, Granada:, 1979, pp. 245-256. Again and again, ‘Saturn Devouring His Son’ can represent the powerlessness, circumvention of consent and emotional numbness which so troubled Goya: it’s also become a very well-known painting, ironically, but it’s certainly one which resonates with many, and if not quite as ubiquitous as Munch’s Scream, there’s something about Goya’s painting which has given it lasting appeal, making it recognisable nearly two centuries after it was created. You can also see echoes of it in unusual places: Ilya Repin’s painting of Ivan the Terrible and His Son has the same blank dread in Ivan’s expression, and Spanish filmmaker Guillermo Del Toro gives a nod to Goya’s Saturn in Pan’s Labyrinth, his own fantasy-satire of Spain at war. Díaz Padrón, Matías, Museo del Prado. Catálogo de pinturas. Escuela flamenca, Museo del Prado; Patrimonio Nacional de Museos, Madrid, 1975, pp. 259.

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Find sources: "Saturn Devouring His Son"– news · newspapers · books · scholar · JSTOR ( July 2023) ( Learn how and when to remove this template message) allegory for the ideas that Goya was thinking about at this moment. Beth: Of power? Steven: Of power and the way Morales y Marín, José Luis, Goya. Catalogo de la Pintura, Academia de Bellas Artes de San Luis, Zaragoza, 1994, pp. 352-353, n. 504. Gudiol, José, Goya, 1746-1828: Biografía, estudio analítico y catálogo de sus pinturas, i, Polígrafa, Barcelona, 1970, pp. 71; 268, n. 221.

Saturn is about to take another bite from the dead figure’s left arm – he appears to have eaten the hand already. The figure’s right arm and head are also eaten, as suggested by the red patches of blood where those parts used to be. Museo Nacional del Prado, Catálogo de los cuadros del Museo del Prado, J. Lacoste, Madrid, 1910, pp. 144, n. 798. Saturn - The Collection - Museo Nacional del Prado". www.museodelprado.es . Retrieved April 4, 2022. Goya depicted an older man in this drawing, assumedly Saturn, and he is in the process of eating one of his sons, chomping down on his left leg while he hangs upside down. In Saturn’s left hand (our right) is another male figure who appears to be hunched over with his head in his hands as if he knows the dreaded death awaiting him. Almost half a century after his death in 1828, they were stripped out by Baron Frédéric Émile d’Erlanger, who bought the place and had the pictures transferred to canvas by restorer Salvador Martínez Cubells. Badly damaged, and partly repainted in the process, they were shown at the Paris Exposition Universelle of 1878, where the British critic PG Hamerton took against them with true Victorian opprobrium, casting Goya as a “hyena” and these scenes as emanations from “a hideous inferno ... a disgusting region ... shapeless as chaos”.the most striking of these panels, Saturn, sometimes referred to as "Saturn devouring one of his children." Beth: It had been prophecized Saturn Devouring His Son" is considered one of Goya's most powerful and disturbing works, and it has been interpreted in various ways over the years, including as a commentary on political violence or as a reflection of the artist's own anxieties about mortality and the darker aspects of human nature. Texture, lines, shapes, forms and space

Calvo Serraller, Francisco, Goya. Obra pictórica, Ramdon House Mondadori, Barcelona, 2009, pp. 284. Gassier, Pierre, Vida y obra de Francisco de Goya: reproducción de su obra completa: pinturas, dibujos y grabados, Juventud, Barcelona, 1974, pp. 318. Luna, J. J., Moreno de las Heras, M. (dir.), Goya: 250 Aniversario, Museo del Prado, Madrid, 1996, pp. 426-427, n. 158. 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. Today, Goya is one of the three pillars of the Prado’s permanent collection, along with his idol Diego Velázquez and Peter Paul Rubens.Loga, V. von, Francisco de Goya, G. Grote`sche Verlagsbuchhandlung, Berlín, 1903, pp. 129-137; 212, n. 447. Carderera, V., Goya, en: http://hemerotecadigital.bne.es/details.vm?lang=es&q=id:0003096384, Semanario Pintoresco, 120, 1838, pp. 632. Goya had witnessed famine, poverty and cruelty, from Napoleon’s invasion of Spain and Ferdinand’s Inquisition. And, significantly, he had painted man’s inhumanity to man before in his famous May 1808 paintings and in his previous “ The Disasters of War” series. Now, it seemed, Goya merely returned to this theme, in isolation and at liberty to paint what he wanted in secret. Deemed “the world’s most beautiful picture” by artist and writer Antonio Saura, The Dog (or The Drowning Dog), has one of the more lightly colored palettes of Goya’s Dark Paintings. Only a portion of the work’s sole subject is visible, a small head of a dog. The rest of its body remains hidden behind a large area of color that was not defined.