Who Is Goya Saturn Devouring His Children

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

In Goya’s art, we can see the primary, visual element of lines. Lines represent motion, dynamics, and direction. The soldiers are aiming their rifles at a group of prisoners waiting for execution. Horizontal lines indicate a peaceful scene, however, in this case, it would be appropriate to say they mean a sense of destruction or death, as the title of the art depicts. As the view follows the direction of the lines, the viewer is immediately drawn to the man with the bright white shirt. The values of the piece are relatively dark and morbid, however, when we look at the man with the white shirt, we can see the opposite effect of the bright white shirt. Going back to the element of lines, once the viewer looks at the man with the white shirt, you can see his hands are in a diagonal position. These diagonal lines represent dynamics and tension. The pressure comes from the imminent execution of that man.

Goya might inspired by Peter Paul Rubens who also previously painted a Saturn Devouring His Son on 1636. But Goya’s Saturn Devouring His Son is different with Rubens’s. Rubens’s Saturn was painted less cannibalistic whereas Goya’s Saturn is more cannibal as he emphasized on Saturn’s expression.

The employment of color and light, and the treatment of the strokes in Goyen's painting also differ a lot from Corot's. On Goyen's palette is a color collection of neutral grays, umbers, ochre and earthen greens that looked like they were pulled from the very soil he painted. Although the cloudy sky with patches of blue kind of sets off the earth colors of the land below, the darkened foreground is still very obvious as if the light striking these sections is lost and

We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.

His art represented the reaction against previous conceptions of art and the desire for a new form of expression. In order to understand the scope of Goya's art, and to appreciate the principles which governed his development and tremendous versatility, it is essential to realize that his work extended over a period of more than 60 years.

<br>At the bottom left side of the painting is a man about to be eaten by a termite who has a game table on his head. This is illustrating that the tables are turned on the man who has committed some terrible crime. In the Inferno this is represented by Lucifer eating the three worst sinners, Judas Iscariot, Brutus, and Cassius, all who betrayed their

Though I do not know the background of Massacre of the Innocents, this painting seems to depict a group of men fighting with a group of women over babies, and when the men manage to steal these babies, the men kill them. Besides the death of children, the most peculiar aspect of this painting is the fact that the men and the babies are naked and the women seem to be losing their clothes. The different person’s level of clothing can tell a lot about what is going on. Leaving the men without clothing seems to give the painter a chance to define their muscles in a way that would have been difficult with them clothed. Even though some of the women’s bodies can be seen, they are not as well defined as the men’s making it apparent who is stronger. Pairing this with Judith Beheading Holofernes, nakedness can also show a lack of power. Holofernes was supposed to be a very powerful man, but after being tricked by Judith, he meets his demise by what could possibly be his own sword. Without his armor and wits, he has no power or ability to defend himself and is killed by someone who would typically be seen as the least powerful character. This meaning is not necessarily depicted in Saturn Devouring His Son where both Saturn and his son are without clothing though there seems to be a type of animal skin around Saturn’s waist while the child he is chewing on lacks all clothing. Saturn’s lack of clothing and his mad expression makes him to appear like an animal or monster instead of a

Out of all of Goya’s works that were displayed, the piece that drew my attention the most was Disparate matrimonial, one of his prints that was a part of Los disparates. The print is colorless, however many lines create areas of light, dark, and many distorted forms are seen throughout the work. The background contains a mess of weird and disturbing looking faces that appear to have bodies that morph together, similar to a hill or some type of landform. The foreground shows a figure that seems to be two separate bodies that have become merged. The figure has two disturbing and ugly faces and the body that is visible looks to be a woman’s; there are arms wrapped around her stomach as if to be holding the body together. Lastly, the back of the figure has a second set of arms that are pointing at an agonizing face that looks as if its melting and its body is begging.

Francisco de Goya y Lucientes was conceived on March 30, 1746, in Fuendetodos, a town in northern Spain. The child of a guilder, Goya spent the vast majority of his childhood in Saragossa. There he started considering painting around the age of fourteen. He was an understudy of José Luzán Martínez. At to begin with, Goya learned by impersonation. He duplicated the works of incredible experts, discovering motivation in progress of such craftsmen as Diego Rodríguez de Silva y Velázquez and Rembrandt van Rijn.

Any art medium can be utilized to tell a story or evoke emotion in a viewer. Artistry is unique in that it is purely visual and can be left to interpretation if the artist chooses to stay ambiguous in the message they are trying to convey. As an artist, I am always trying to analyze the meanings behind famous works of art, whether those meanings happen to be incidental or purposeful. So, when contemporary artist, Enrique Chagoya expressed his adoration for the social commentary expressed in Francisco Goya’s Los Caprichos sketches, I was intrigued.

Both of these works have a dark nature depicted within it. Goya’s “Horrible Monster” displays a large beast as the main object

The nymphs are given innocent, sexual, and ghostly appearances that make it hard to look away. The translucid water and exposed bodies are made to be captivating in the pool. The mythological creatures are shown as hauntingly beautiful. The sensuality of this painting comes to life when Hylas's position

Within the turmoil we find bodies thrown to the right and back to the left. Intermixed within the human like figures are four horses spilled throughout the sky and one golden chariot. A distressed man falls from the chariot as though what has just happened is all too much for him to take. Above this man a horse with a seemingly humanesque face looks down upon the chariot rider with eyes to kill. The horse's mane swept upwards to the brightest section of the painting. This section glowing down upon the scene implies a call from

Francisco de Goya’s Pinturas negras, or Black Paintings, are some of the most grotesque and unsettling images in art history, with one painting in particular, Saturno devorando a su hijo, or Saturn Devouring One of His Sons, standing out the most amongst them all. With his wildly staring eyes, gaping mouth and half-eaten son in his hands, it makes one wonder what would drive an artist to create an image like this. Goya, however, was not uneducated in the horrors of the world, witnessing the travesties of the Peninsular War, the atrocities of the Spanish Inquisition, surviving two life threatening illnesses, with one leaving him completely deaf, and the death of six of his seven children. Perhaps it was one of these instances in particular that encouraged him to conceiving this disconcerting figure, or perhaps it was a combination of the three.