Analysis Of Still Life With Golden Breams By Francisco De Goya

Fish magic was created in a pane using oil and watercolors. It combines the components from the sea, such as fish, the earth, which are flowers and the galaxy, that is the moon and the planets. The painting appears as though Klee was conveying a complex story using the elements of the sea, sky on canvas and the earth. He expresses his romantic, expressionist and surreal mood through the painting . Any person examining Klee’s work for the first time will definitely think it was a work of a nursery watercolor worm. After looking carefully at the elements, one can see how the elements in the painting fuse together to illustrate a message after seeing hoe Klee was managed to make an artistic impression using simple elements.

Goya painted a slightly unflattering portrait of the Spanish royal family because he strongly disliked them and wanted to insult the King.

At first glance, the Red Fish looks like a decoration piece that someone would hang in their home or lake house for decoration. However, with a more in depth look, viewers will see that this painting illustrates much more than it appears. In 1990, Leonard Koscianski used a piece of canvas, 64’’x46’’ to paint the image of a fish out of water. Koscianski used oil and dark shades of red, orange, blue, green, and white to create the Red Fish. The Red Fish was painted vertically with the fish as the main focus point. Behind some green blade grass, a large red- orange fish appears to be leaping out of the water. The size of the fish helps show that the fish is the center piece of the painting. Behind the fish there is a small patch of land, filled with blade grass with two white house’s sitting off in the distance. Directly behind the houses is a section of woods. From left to right, the tree tops seem to follow and up and down pattern. The dark blue sky begins at the tree line and ends at the top of the painting. Throughout the sky there are patches of clouds that are an off white color. The contrast between the colors used by Koscianski show a lot of detail, but did not take away from the huge red- orange fish. Along with the color scheme, Koscianski used lines to add detail to the fish and to provide depth to the painting. With proper use of colors and lines, Koscianski was able to create the Red Fish. In 1991, the Montgomery Museum of Fine Arts

Emotionalism aspect also can be seen in this painting. The public is curious why Goya painted Saturn. Some historians suggested that this is related to Goya’s son, Javier. Goya and his wife, Josefa, had plenty of children but only Javier

The work is privately owned, and displayed occasionally in Melbourne. It captures and stands towards the audience because of its contrastive colour. It is almost pure black, with spots of yellow. The materials he used were also significant, and the way he distorted the face of the fish, gives a sense of almost cubism. The seemingly random twigs which stick out from the fish, give an impression of danger. The overall atmosphere the fish gives, is very dark and evil. He acts like an omen and a forewarning of environmental disaster.

Guernica is monochromatic to make its imagery more powerful. Lack of color keeps the viewer focused on the subject matter at hand, as well as keeping the mural cold, which agrees with its general theme of injustice in war. Also, Picasso’s flat imagery does not distract the viewer from concentrating on imagery. The viewer is given no other choice than to concentrate on the subject matter of Guernica and ponder it’s meaning. The flat, grayscale images generalize the imagery and contribute to the general theme of unnecessary suffering and tragedy.

Goya made a series of etchings and paintings depicting the atrocities of both sides involved with the war. The most famous of these paintings are the two depicting the scenes from the second and third of May. The work focuses on the victims of the situation, which in this case are the Spanish citizens being executed. The work is not meant to be beautiful, but is instead supposed to be horrible in order to shock the viewer. Goya's purpose within the painting is less to blame the French, but instead to point out to people the "faceless and mechanical forces of war itself, blindly killing a representative of humanity"(Stokstad). He used the incident as an example of how horrible war is and what can happen when violence is instituted.

In his illustrations and paintings, he like to use a very traditional technique to paint, he would start with draw a number of thumbnail of his models, and then get the perfect composition, then he uses round or flat soft sable brushes with paint that shined down by turpentine, to get a thin wash of the composition, then he would use flat hard bristle brushes with regular and thicker paint to do the rest of the painting, with this technique, he is able to keep the shadows transparent and thin, but also a interesting light side with all his characterized brush

As a result, his satirical edge dulled and historical framework began to unravel. Now, themes of insanity began to immerge from Goya’s series. The contorted positions of each castrated figure displayed the unbridled emotions of Goya as he lost control while creating. This emotional involvement undercuts the formal quality of social commentary and delivers primal rage as a bastardized answer. From grotesque aesthetics a moral lens is crafted, allowing the public to assemble information and weigh its’ aesthetic qualities against conceptual meaning. If there is a risk of offending morality with imagery then satire is deployed as a tool to coerce justifiable acceptance. The Chapman’s intentions strike satire from this planned mechanism. Without it, transgression is forced into the public eye; causing liberation from structural confinement and eventually redefining the aesthetics of basic humanistic intuition. While Goya’s works are prominent in critically defending Jake and Dinos, they are not the conceptual focal point. The link between past and present wars is too obvious of an allusion for the deviant nature of the brothers. Purity of transgression seems to be the direction of their focus due to the abrasive treatment of subject matter, primitive undertones and relentless repetition.

In the Blanton it was surrounded by Goya’s many etchings and the brightness of color couldn’t help but attract my eye. The lack of color in the background, gives people’s eyes nowhere to look but at the fish, a small patch of green, and some waves off the shore. It may be dark on the beach but the fish are eerily captured in light. The viewer cannot escape looking at the fish, stacked in an unstable pile, their glistening bodies reflecting the moonlight. Their eyes, yellow with black piercing the center, stare at the viewer and into the black abyss of the night. Their expressions mimic as if the fish had seen something horrible, or perhaps that their expressions are their realizations that they are dying. The image of these fish out of water, slowly suffocating trigger the notion of decay and death. The viewer cannot help but want to help these fish but there is nothing any can do; they are going to die. I read that during the time Goya painted Still Life with Golden Bream, he was surrounded by people dying of starvation. I think that this is interesting because he chose to paint fish—a source of food—dying of deprivation of air and food. To me, the hopelessness of survival for the fish reflects the hopelessness of the people during that time. All the fish need to survive is to get to the water and all the people need to survive is to get food but both the fish and the people are unable to get what they need to stay

Goya's prints explore the horrifying consequences of this kind of guerilla warfare, and the famine that followed it. The French army is often shown by Goya as disorganized force, leaderless and cruel. The most surprising innovation in his series is the emphasis Goya placed on war's power to dehumanize everyone involved. The brutality of the two armies was equaled by the fury of the Spanish

Francisco José de Goya y Lucientes is regarded as one of the most important Spanish artists from the late eighteenth and early nineteenth centuries. His work spanned the time of four

“Saturn Devouring His Children” is the boldest painting of the group. Goya portrays a grim voracious giant with predatory, lunatic eyes stuffing his son’s torn, headless body into his maw, a visual equivalent of torture and murder, set against the darkness which accentuates the mood of despair to illustrate his honest views of humanity during a turbulent time.

The word art is an encompassing one, vastly interpreted and with multiple definitions. In the case of Picasso's painting Guernica, art informs, educates and expresses. Its power lies in its ability to capture and compel an audience nearly six decades after the modern world's "other" day of infamy. To understand fully the painting that evolved out of the Spanish painter's outrage, one must know its context. "Why do you think I date everything I do? Because it is not sufficient to know an artist's works--it is also necessary to know when he did them, why, under what circumstances" (Picasso). An appreciator who knows the saga of Spain's historical fishing village is given a depth of experience that only a genius like

Goya was an artist who made etchings called The Disasters Of War. These etchings showed the horrible things that were done by Napoleon's soldiers. They were made in order to shock the viewer and make them feel the pain of what happened. These sketches did not go in narrative order or show exact details of an event, they were just images showing that bad things like that happen during war. Normal captions have dates and places written which detach the viewer from the pain of the picture. On his sketches,