Saturne: Peintures noires des hommes de la famille goya

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Museo Nacional del Prado, Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 283, n. 763. has become burdensome. Hung in the same room in Goya's house, the 'Quinta del Sordo', Saturn also accompanied a witches' sabbath; Judith and Holofernes, the emblem of the irresistible woman; and a portrait of a girl, thought to be Goya's Pérez Sánchez, A. E., Cómo las pinturas de la Quinta del Sordo se convirtieron en Pinturas Negras, en Guillaud, J. (dir.): Goya. Las visiones magníficas, París; Nueva York:, 1987, pp. 89-108. The late style of Francisco Goya is characterized by a shift towards a more expressionistic and somber approach to his subjects. He abandoned the neoclassical style that had been popular in his earlier works and began to experiment with more subjective and emotional interpretations of his subjects.

Cette peinture de Rubens ( Saturne dévorant l'un de ses enfants (1636) - Musée du Prado) a peut-être inspiré Goya. Posada Kubissa, Teresa, August L. Mayer y la pintura española: Ribera, Goya, El Greco, Velázquez, Centro de Estudios Europa Hispánica, Madrid, 2010, pp. 207. Like some phantasmagorical form of interior design, they were painted directly on to the walls of the farmhouse just outside Madrid that Goya bought in 1819. He was 73, ancient by the standards of the day, and alienated from the Spanish royal court where he had painted for half of his life. By this time, he had also been profoundly deaf for decades. Over the next few years, Goya conjured face-melting visions in dark oils and projected them on the plaster – wrapping hallways, staircases and living spaces in hellacious murals for his own contemplation. Goya later started working for the Royal Court, where he painted figures of Spanish nobility. He was greatly affected by the famine, poverty, and cruelty he witnessed during the war between France and Spain, inspiring some of his most famous—and somewhat controversial—paintings. These included some nudes and artworks which offered dark critiques of the bloody Peninsula war. Interest in psychological and emotional states: Goya's works often explore the inner world of his subjects, depicting them in moments of fear, despair, or anguish. This interest in psychology and emotion is particularly evident in his series of prints, The Disasters of War.Todorov, Tzvetan, La pintura de la Ilustración: de Watteau a Goya, Galaxia Gutenberg: Círculo de Lectores,, Barcelona, 2014, pp. 163. Sánchez Cantón, Francisco Javier, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972, pp. 270, n. 763. Francisco de Zurbarán: Zurbarán painted a number of works featuring Saturn, including "Saturn Devouring his Son" and "The Triumph of Saturn." Francisco Goya, Self-portrait at an Easel, 1790-1795. Madrid: Real Academia de Bellas Artes de San Fernando. Who was Francisco Goya?

The mood of the painting is in stark contrast to Rubens' Saturn, as the central figure is acting out of madness rather than calculating reason, and the consumed figure is completely lifeless rather than in clear pain. It is very likely Goya had seen Rubens' Saturn in his life, but the degree to which inspiration was taken (if any) is unknown. [6] Saturn devouring his sons, Goya, c. 1797, red chalk on laid paper In the article below we discuss the famous Saturn Devouring One of His Sons (c. 1819-1823) by Francisco Goya (it is also sometimes titled Saturn Devouring His Son, and in Spanish, it is Saturno Devorando a uno de sus Niños). Increasingly we believe the world needs more meaningful, real-life connections between curious travellers keen to explore the world in a more responsible way. That is why we have intensively curated a collection of premium small-group trips as an invitation to meet and connect with new, like-minded people for once-in-a-lifetime experiences in three categories: Culture Trips, Rail Trips and Private Trips. Our Trips are suitable for both solo travelers, couples and friends who want to explore the world together. Luna, J. J., Moreno de las Heras, M. (dir.), Goya: 250 Aniversario, Museo del Prado, Madrid, 1996, pp. 426-427, n. 158.

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en) Karen Morden et Stephen Pulimood, 1001 Paintings You Must See Before You Die, Londres, Quintet Publishing, 2006 ( ISBN 1-84403-563-8)

Sánchez Cantón, Francisco Javier, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972, pp. 280, n. 798. Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its own children in wars and revolution. [ citation needed] There have been explanations rooted in Goya's relationships with his own son, Xavier, the only of his six children to survive to adulthood, or with his live-in housekeeper and possible mistress, Leocadia Weiss; the sex of the body being consumed cannot be determined with certainty. If Goya made any notes on the picture, they have not survived, as he never intended the picture for public exhibition. Saturn devouring his sons (c. 1797) by Francisco de Goya, red chalk on laid paper; Francisco de Goya (1746-1828), Public domain, via Wikimedia Commons Two Old Ones Eating Soup, also known as Two Witches, The Witchy Brew, or even Two Old Men Eating, is the smallest of the paintings and was the most well-preserved. It reportedly resided on the ground floor of Goya’s villa.

The painting was considered scandalous and controversial when it was first discovered. Some art critics were horrified by its graphic imagery and disturbing subject matter, while others praised its raw power and emotional intensity. 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. In the “Saturn Devouring His Son” painting, we see more organic lines, which are curvier and seemingly mimic the lines of nature, whether that’s in a figure or a natural object.

Garrido, Mª del C., Algunas consideraciones sobre la técnica de las Pinturas Negras de Goya, Boletín del Museo del Prado, V/13, 1984, pp. 4-7. Peter Paul Rubens: Saturn is a recurring motif in many of Rubens' works, often depicted as a powerful and imposing figure. Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Ministerio de Educación y Cultura, Madrid, 1996, pp. 150, n. 798.The available documentary evidence makes for a nuanced character study. Goya was a country boy from Aragon who rose to the highest rank of any Spanish artist. A social climber who maintained a distaste for aristocrats. A man of the people with a loathing of the mob. A painter of luminous royal portraits and ethereal chapel frescoes who also made a worldly series of prints that he called Los Caprichos, satirising “the foibles and follies to be found in any civilised society”. 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. Saturn - The Collection - Museo Nacional del Prado". www.museodelprado.es . Retrieved April 4, 2022. Gudiol, José, Goya, 1746-1828: Biographie, Etude Analytique et Catalogue de ses Peintures, I, Ediciones PoligrafaS.A., Barcelona, 1984, pp. 33, 35; 102, n. 209; 137. Toutefois, certains critiques ont estimé que la version de Rubens serait plus horrible en ce qu'elle représenterait un tueur calculateur sans remords qui, craignant pour sa situation, assassine son enfant innocent, alors que dans sa version, Goya représente un homme rendu fou par le fait de tuer son propre fils. En outre, dans le tableau de Goya le corps du fils est celui d'un adolescent alors que Rubens a peint un bébé sans défense [6 ] , [7 ].