Towards Us. Cool Colors Make Us Calm and Recede (Go Away) from Us

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Towards Us. Cool Colors Make Us Calm and Recede (Go Away) from Us

Hi Everybody, This week we are going to look at a painting by a Spanish Artist, Francisco Goya. The title of the painting is The Third of May 1808. We will talk about color and its effects on us, and how a painting or a picture is divided in three different sections. Let’s talk about color first: Warm colors: reds and yellows Cool Colors: blues and greens The colors that are made by mixing a warm and a cool color are warmer or cooler depending upon the amount of the two colors. Purple is made by mixing red and blue. If we add more blue it is going to be cooler and if there is more red it is going to be warmer. Warm colors make us active and hungry and seem to proceed (move) towards us. Cool colors make us calm and recede (go away) from us Now look at the following painting by Goya and respond to the question: Does this painting have warm colors or cool colors? What colors do you specifically see? Now let’s talk about sections in a painting. There are usually three sections in a painting (or an image) 1. Background is behind the subject. Subject is the focus of a painting; the most important thing in it. 2. Middle-ground is usually where we find the subject-̶ Where we have the action or figure or whatever the artist wants us to focus on. 3. Foreground is in front of the subject In the above painting, what do you find in the Background: Middle-ground: Foreground: And now a couple of questions about the subject matter of the painting: The man with the white shirt is raising his hands but they are not exactly the way someone raise his hands when he is about to be shot. What is the difference? Does it remind you of any icon? Which one? Why do you think the artist has kept the light focused on the man with the white shirt? I am also uploading a worksheet separately with the same questions, so it is easy for you to send me back your answers. **** A little bit about this painting: The Third of May 1808 (also known as El tres de mayo de 1808 en Madrid) is a painting completed in 1814 by the Spanish painter, Francisco Goya. Goya wanted to show Spanish resistance to Napoleon's armies during the occupation of 1808. This painting is a groundbreaking image to convey the horrors of war. According to the art historian, Kenneth Clark, it is "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention". The Third of May 1808 has inspired several other major paintings, including Pablo Picasso's Massacre in Korea and Guernica. There is a lot more information on the web about this painting. Feel free to do more research. Please join Google Classroom if you have not done so. See you in Google Hangout. Take care! Omer .

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forty-five.com / papers /194 Herbert Marder Reviewed by Guy Tal Mortal Designs I Like the young goat that gives the Caprichos their name, these etchings, unpredictable as goats leaping from boulder to boulder among the hills, evoke the painter Francisco Goya who made them after a sudden illness. At the height of his fame, he falls into a coma, close to death. The doctors have no d i a g n o s i s . H e fi g h t s h i s w a y b a c k a n d c o m e s t o h i m s e l f ,forty- six years old, deaf, ridden by the weight of things. His etchings unveil a prophetic vision, a loneliness like no other, and when they become known years after Goya’s death—timeless. II Court painter to King Carlos IV, Goya is nursed back to health by a wealthy friend. Enemies at court spread rumors…expected not to survive. At least, he’ll never paint again, they say. He ridicules them as soon as he can pick up a brush, paints s m a l l c a n v a s e s , l i k e a j e w e l e r ’ s u n c u t s t o n e s , r e fl e c t i o n s of the nightmare he has lived through, and the inner world his passion unveils, a dark core in which the aboriginal being is close to extinction.
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The Third of May 1808, Francisco Goya, Oil on Canvas 1814
Part C Term 1 Assessment With three artists from different countries and backgrounds it is interesting that they have all, in some of their works, decided to work with the same concept. The one element that unites the works of Spaniard Francisco Goya, German John Heartfield and Hungarian Robert Capa is that, at least at some point in their career, they have all chosen to depict the universal issue of war. Goya extensively employed colour and unique paint application techniques to explore the emotional side of war and conflict during the invasion of Spain by France, while Heartfield used the composite medium of photomontage to protest against the suffering of desperate people under the Nazi reign. At a similar time to Heartfield, and at times in the same countries as both Goya and Heartfield, Capa photographed at least five different wars and captured mainly action photos aimed at portraying the violence of armed conflict. All three artists incorporate the human figure as part of their subject matter, but in my opinion John Heartfield and Francisco Goya are more persuasive in communicating their intentions than Robert Capa. Francisco Goya was born in Spain in 1746 and practiced artmaking almost to the end of his life in 1828. He was the official court painter to Charles IV and the director of the Spanish Royal Academy, and with these connections he became a favourite of the wealthy who employed him to paint their portraits. Goya was part of the Romanticism movement and mainly worked with the media of paint; however he was prolific in the production of both paintings and prints (zinc plate and etching among others.) Francisco had a free, painterly style and he often used his fingers in the place of a brush as he painted.
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The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support.
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