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For Educational Purposes Only Revised 09/12 1 Francisco Goya
The Presentation
1. Goya in His Studio 1790-5, oil on canvas, 16-1/2” x 11”, Real Academia de Bellas Artes de San Fernando, Madrid
Goya painted this self-portrait at a time when he was the most sought-after portrait painter among the aristocracy in Madrid. He painted himself at work at his easel, wearing an unusual hat, with metal candlesticks around its crown. A biographer later explained the hat, saying that Goya applied the final touches of a painting by candlelight at night, preferring the better effect of a painting rendered by artificial light.
Goya has given his own shape emphasis through the use of several devices. First, he placed himself, full-length, in the center of the canvas. His entire height stretches almost the entire height of the painting. Second, he has placed himself in front of a bright window. The value changes between the bright light How does Goya at the window and his darker shape create the contour edges that define his emphasize himself shape. The darker values of his clothing and hat are all the more visible and in this composition? emphasized because they contrast with the bright values of the background.
2. The Parasol 1777, oil on canvas, 39” x 59-1/8”, Museo del Prado, Madrid
In this painting, a cartoon for one of his tapestry designs, Goya painted a genre scene that illustrated a moment from everyday life in Madrid. The tapestry created from this painting was intended for a wall above a door, which is why Goya painted his female subject in a position from which she could look down on the observer. Her companion uses the parasol to protect her delicate skin from the sun, and in her hand, she holds a fan, not only an indispensable tool for creating a cool current of air on a warm day, but also a tool used by women for communication. Every opening and Where do you see areas of closing of the fan had significance. In a language known at every level of light and dark contrast? society, the fanʼs movements could give a secret sign of encouragement to a hopeful suitor or indicate her lack of interest.
Goya created visual interest and emphasis on his subjects by placing them, with the vivid colors of their clothing, against a subdued background of contrasting values. The young woman stands out because her bright clothing contrasts with the darker value of the wall behind her, as does her fan, the tool she uses to flirtatiously communicate. The young man is emphasized because the shape of his arm and lower body, appearing darker for the shadow cast upon him by the parasol, stands before the lighter values of a cloudy background.
Value contrasts in the background also create visual lines which bring the viewerʼs eye back to the young couple. If one looks at the upper left hand corner of the painting, the value contrasts between the dark wall and the clouds in the distance create a line that leads the eye directly back to the face of the woman. If the eye wanders out to the upper right hand corner of the painting, the value contrast between the dark tree branches and the blue sky create a line that lead the eye back again to the couple at the center of the painting.
For Educational Purposes Only Revised 09/12 2 Francisco Goya
3. SCANNING: Don Manuel Osorio Manrique de Zuñiga 1788, oil on canvas, 50” x 40”, Metropolitan Museum of Art, New York
Goya always had a special affinity for children (his wife gave birth many times, but only the last-born survived). As his reputation as a portraitist grew, it was not unusual that his wealthy patrons wanted portraits, not only of themselves, but also of their heirs.
This portrait of four-year-old Manuel Osorio is one of Goyaʼs most famous works. Emphasis has been created by positioning the boy, full-length, in the center of the canvas, taking up almost the entire height of the painting. The indistinct background provides a negative shape surrounding the positive and dominant shape of the boy. His is obviously the most important shape in the painting.
Why did Goya use Value contrasts also work to create emphasis in this painting. The vivid red of the bright red for the boyʼs suit contrasts against the darker values of the indistinct background, boyʼs clothing? making him stand out. His red suit also contrasts with the pale skin of his face, emphasizing his delicate features. The brighter area of background behind the boyʼs head contrasts with the darker value of his dark hair, further emphasizing his head. And, even though it is placed in the dark background in the lower left corner of the painting, the light fur and bright eyes of the cat give it enough emphasis to draw our attention. [Note: Goyaʼs signature is on the card held in the birdʼs beak.]
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Scanning Questions
Don Manuel Osorio de Manrique Zuñiga 1788, oil on canvas, 50” x 39-3/4”, Metropolitan Museum of Art New York
Art Elements: What you see.
Shape • How many different shapes can you see in this painting? (The boy, the cats, birds and a birdhouse.) Which shape is geometric? (The birdhouse.) • Shapes can be positive or negative. Where is a positive shape? (The boy.) Where is a negative shape? (The background behind the boy.)
Value • What are the areas of the painting with the lightest values? (The boyʼs face and collar, the area behind the boyʼs head, the shiny sash around his waist, his shoes, the white fur on the cat, the white feathers on the bird.) • Where are darker values? (In the background behind the boyʼs body, his hair.) • Why do you suppose the boy was painted wearing a red suit instead of a black suit? (The red suit is brighter than the darker background. It has a stronger value, and stands out more.)
Art Principles: How the elements are arranged.
Contrast • Where do you see areas of value contrast? (The boyʼs dark hair against the area of lighter background; the boyʼs pale face next to his dark hair.) • Can you point out areas where textures are contrasted? (The silvery sash around the boyʼs waist and his lacy collar next to the cloth of his suit; the catsʼ fur near the birdʼs feathers.)
Emphasis • What is the most important shape in this painting? (The boy.) How did Goya place emphasis on the boy? (He is dressed in a bright red suit; he stands before a darker background; he is placed in the center of the painting; he stands in front of the other shapes in the painting; his is the largest shape in the painting.) • How do we know that the cats are not the most important elements in this painting? (They are smaller in size and placed behind the boy; their dark shapes do not contrast much with the dark background.)
Technical Properties: How it was made. • What materials did the artist use to create this work? (Oil paints and brushes, canvas.) • How big do you think this painting is? (50” x 39-3/4”.)
Expressive Properties: How it makes you feel. • How does this painting make you feel? • What do you think the boy is feeling? Does he look happy or sad? Is he having fun, or is he bored?
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4. Portrait of the Duchess of Alba 1797, oil on canvas, 83” x 57-7/8”, The Hispanic Society of America, New York
The Duchess of Alba was one of the most famous, fascinating, and beautiful women in Spain, and she became Goyaʼs most famous model. This portrait of the young widow was most likely painted during Goyaʼs stay at the Duchessʼs country home, and remained in his possession throughout his life.
In this painting, Goya painted the Duchess wearing the black dress of a maja (a fashionable young woman from the working-class neighborhoods of Madrid, whose brash style was the rage among the aristocracy). Not only does she stand full-length, the only positive shape in the painting, but she is also emphasized by the value contrasts between her dark clothing and the lighter indistinct background behind. Value contrasts between her dark hair and mantilla (lacy head scarf) and her bright skin draw our attention to her face. Which is the The light source is obviously to her right, placing the left side of her face in shadow. positive shape in Goya achieves this shadow by the use of value changes to create the shaded this painting? contours of her face.
Further down on the Duchessʼs skirt, the light values of her hand contrasted against the black of her skirt provide the contours that define the shape of her hand, emphasizing the fact that she points to something on the floor [Uncovered during a modern-day cleaning, the words “solo (ʻonlyʼ) Goya” appear painted on the floor at her feet, suggesting that perhaps Goya and the Duchess were lovers.]
5. Clothed Maja c. 1800, oil on canvas, 37-3/8” x 74-3/4”, Museo del Prado, Madrid
This painting was one of a pair of works, in which the same woman was painted in the same pose, clothed in one painting and naked in the other. It is presumed that the “Clothed Maja” was intended to provide a cover for the naked one. It was once believed that the Duchess of Alba was the model for these paintings, but the model was probably a maja from Madrid who was the mistress (and later wife) of the Kingʼs Prime Minister, Manuel Why does Goya use contrasting Godoy, in whose home the paintings hung. Only someone with the color values in this painting? power of the Kingʼs Prime Minister would have dared to commission the “Naked Maja” and to hang it in his home, and only selected visitors were allowed to see the painting inside a secret cabinet where it was kept. Godoy fell from power in 1808 and the painting was confiscated. Goya was called before the Spanish Inquisition in 1814 to answer for the scandalous painting, as depictions of the naked human form were strictly forbidden by the Spanish church. His response to the tribunal is unknown, but he evidently escaped severe punishment.
In this painting Goya once again used the contrasts of color values to create the contours of the womanʼs shape. He used the contrast between the darker values of the background to the brighter values of her clothing and skin to give her emphasis. Her reclining full-length shape dominates the painting, extending diagonally across the entire width of the canvas, the dark, indistinct background providing a negative shape, which outlines her lighter positive shape.
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6. Majas on a Balcony 1811, oil on canvas, 76-3/4” x 49-1/2”, Metropolitan Museum of Art, New York
In this painting, two flirtatious majas wearing expensive lace mantillas sit behind a railing. Behind them, in the shadows, stand their male companions with black capes and hats pulled over their faces, giving the viewer the disturbing impression of being “the viewed.” Our eyes are immediately drawn to the brightly dressed women, given emphasis by their placement, not only in the center foreground of the painting, but also against the darker background of the shadows behind them. The contrast between the bright values of their clothing and faces and the dark values of the shadowy men in the background define the contours of their shapes.
The color values in the background of the painting are similar, both in the background behind the women and in the clothing and features of the men. Which are the positive This creates almost a solid negative shape that outlines the positive shape of shapes? Where is the the young women. negative shape?
7. The Family of Charles IV 1800, oil on canvas, 110-1/4” x 132-1/4”, Museo del Prado, Madrid
This painting was one of Goyaʼs first commissions as Court Painter. It shows the influence of Velasquezʻs “Las Meninas,” a painting in the royal collection of another royal family from nearly 100 years before Goyaʼs birth. [Goya copied the Velazquez painting in an etching several years before.] As did Velazquez in “Las Meninas,” Goya painted himself into the group, standing at his easel, to the left.
At the center of the painting is Queen Maria Luisa, with her youngest children. To her left stands the King; to her right stands Crown Prince How do you know which figures Ferdinand. All twelve members of the royal family posed for this Goya intended to emphasize? painting at various times over the course of a year, but as Prince Ferdinand had yet to take a wife, Goya painted a thirteenth figure standing next to the Prince. She was meant to represent the future bride, with her face turned away from the viewer by chance. [When the Prince finally married, Goya refused to paint the brideʼs features into the picture because he hated retouching.]
At a time when most court painters would have attempted to flatter the subjects of their paintings, Goya was shockingly honest. The entire family was painted just as Goya saw them: the Queen looks quite plain, her features unimproved by her ornate dress and rich jewels; the King looks fat and dull, the bright medals and ribbons on his chest the only clues to his status. Although they did not seem to object to the honesty of their portraits, this was the last time Goya was known to paint any member of the royal family (with the exception of Prince Ferdinand, whose portrait was painted in 1814 upon his ascension to the throne).
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The placement of Queen Maria Luisa at the center of the painting emphasizes her power in the family. The dark values of the indistinct painting on the wall behind her contrast with the light values of her face and dress, making her shape the focal point of this work. The Queenʼs gaze directs us to look at the King to her left, where we notice the sparkling medals on his chest contrasting against the dark values of his suit coat. The King is emphasized because of the value contrast of his dark clothing next to the more brightly dressed individuals to his left. The Kingʼs gaze leads our eyes to the Crown Prince on the left side of the portrait, who is also dressed in colors that have darker values, and appears to be standing in partial shadow. Only the light values of his face and white collar have enough contrast with the dark values surrounding him to give his portrait any emphasis at all. The dark values of the background are so similar that, as in “Majas on a Balcony,” an almost solid negative shape serves to outline the positive shapes of the royal family.
8. Until Death 1799, etching and aquatint, 8-3/4” x 6”, from “Los Caprichos”
During the final years of the 18th century, Goya created one of his most important works. It was a series of etchings, called the “Caprichos,” that were grotesque, satirical, and puzzling. The word “capricho” means whims— astonishing and fantastical ideas—but in Goyaʼs time it also referred to any concept that was not part of orthodox Catholicism. In the world of art, “capricho” came to mean something creative and original rather than done strictly by the rules. Goyaʼs etchings reflected both interpretations of the word. They were a savage critique of social evils and human weakness, and they were also a reflection of the Enlightenment, an 18th century philosophical movement that taught people to believe that reason was the only force that could rightly guide human beings. Goya clearly believed that reason was not in command in Spain: life was corrupt, the royal court was full of powerful but How does Goya use stupid leaders who were against all reform, and the government supported the placement and churchʼs Inquisition, which sought to punish any breach of Catholic conformity. contrast to achieve emphasis in this In this etching, Goya has drawn an ugly old woman primping vainly in front of composition? her mirror. She is unaware of her own ugliness and of the laughter of those who watch her. It is thought that this etching might reference the unattractive Queen Maria Luisa, who sought out affairs with younger men, but it also reflects one of the basic themes of the “Caprichos”—the inability of people to see beyond self-delusion and deceit.
Because an etching is strictly an ink print, the only way the artist can define his shapes is by value contrasts of light and dark. Goya used a new technique called aquatint, which allowed the acid to etch a microscopic crackle in the copperplate that, when printed, created broad areas that printed as grays rather than just black. It made it possible to print not just line, but also areas of tonality, and enabled Goya to achieve gray backgrounds and subtle areas of shade.
There are subtle changes between the values that define the individuals in the background and the values of the background itself, but both contrast with the brightest area of this print, the shape of the old woman. She is emphasized by not only this contrast with the darker values of the background, but also by her placement at the center of the scene.
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9. The Sleep of Reason Produces Monsters 1799, etching and aquatint, 8-1/2” x 5-7/8”, from “Los Caprichos”, The Hispanic Society of America, New York
Also from the “Caprichos,” this etching is a self-portrait of the artist who has fallen asleep while working. In the dark background, flying creatures of the night torment him (an owl has taken hold of his drawing materials, a cat crouches nearby). We see both the sleeping form and what he is dreaming. Once he falls asleep and is no longer controlled by reason, and a dark, uncontrolled fantasy threatens to overcome him. This work provides the theme for all the “Caprichos”: when humans allow their reason to lapse, irrationality takes over.
Again, using the aquatint process, Goya was able to create broad areas that printed gray and gave subtle changes of value to the work. The flying creatures in the background have been created with darker values than the What kind of dream background itself, but both are darker in value than the brighter shape of the do you think this man is having? sleeping artist in the foreground. This contrast, along with his placement in the center foreground of the work, give the sleeping artist emphasis and identify him as the focal point.
10. To The Cemetery 1810-23, etching and aquatint, approx. 6-1/8” x 8-1/4”, from the “Disasters of War”, The Hispanic Society of America, New York
The series of etchings entitled “The Disasters of War” was given another title by Goya: “The Fatal Consequences of the Bloody War in Spain against Bonaparte and other Striking Caprices in 85 Impressions”. Hardly anyone saw these prints during Goyaʼs lifetime. It was not until 1863 that the first edition of these prints was published under the title “Disasters of War.” What do you think Goya is Exposing the stark reality of war, Goya showed in these prints how war saying with this etching? turns men into beasts. The images in the series were based on his own experiences and eyewitness accounts of atrocities committed during the French occupation from 1808 to 1814, both by the French troops and by the Spanish who resisted them. Both sides butchered their enemies in acts of revenge, and civilians were rarely spared. Goya chose not to create traditional images of battle. Instead, his images included summary shootings, piles of corpses, mutilated bodies, hangings, starving and wounded people fleeing in panic—all the senseless end-result of violence.
In “To the Cemetery” we see two men struggling to carry a heavy body, while another body lies in the street nearby. The shapes of the men and their heavy load are placed in the center of the print, giving them emphasis against a nearly empty background. Value contrasts define the shapes of the men and the body they are carrying, with the size of the corpse large enough to further emphasize the struggle to carry it. The absence of background behind the man on the left creates a negative shape to outline the positive shape of his head and shoulders.
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11. The Third of May 1808, 1814, oil on canvas, 104-3/4” x 135-7/8”, Museo del Prado, Madrid
After the end of the French occupation, Goya wanted to “immortalize the most remarkable and most heroic deeds or scenes of the fabled uprising against the European tyrants.” He also wanted to show his loyalty to the Spanish government, which may have been in question because of his actions during the French occupation. [Goyaʼs behavior during this time was contradictory. When Napoleon put his brother on the Spanish throne, Goya, still as Court Painter, had no hesitation in How does Goya use light to accepting commissions from Joseph Bonaparte. Yet, as a patriot, he emphasize the subject? was on the side of the Spanish people.]
One of the most notorious episodes of French barbarity came in early May, 1808, after most of the Spanish royal family were forced into exile, leaving the 13 year-old crown prince and his sister behind in Madrid. Napoleon ordered the children brought to France, and on May 2, a crowd outside the palace witnessed the prince being forced into a coach against his will. This led to a confrontation between the French troops and Spanish rebels, most of whom were unarmed. The next day, the French marshall ordered firing squads to shoot any Spaniards who had taken part in the uprising or were found to be armed.
In this painting, against a backdrop of a dark hill at night, the firing squad levels their rifles at their latest victim. Their backs are to the viewer, faceless threatening shapes going about their business mechanically. The kneeling victim, to the left, faces them bravely with his arms outstretched. He is dramatically emphasized by the light from the lamp reflected off his white shirt, brilliantly glowing in contrast to the darker values elsewhere in the painting. He is the obvious focal point of the painting. Although other shapes surround him—his comrades nearby, hiding their faces from the horror, and the dead at his feet—our eye is continually directed back to him. The parallel lines of the rifles direct our gaze to him; his outstretched arms act as diagonal lines leading us back to his dark face, which is emphasized by its outline against his white shirtsleeve. This painting offers a powerful vision of the horrors of war.
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12. The Colossus or Panic 1808-1812, oil on canvas, 45-5/6” x 41-3/8”, Museo del Prado, Madrid
Towards the end of the war, Goya painted this powerful and enigmatic picture. The image of a giant, rising above a fleeing crowd, has had many interpretations, including that of Napoleonʼs army invading Spain. It may also be an illustration of a popular Spanish poem about a giant arising from the Pyrenees Mountains to defend Spain against invaders. Obvious emphasis is placed on the giant: by the contrast of his size to the tiny figures in the foreground; by the placement of his shape in the center of the canvas. In addition, a light source from the left illuminates the features of his face, emphasizing his flesh as contrasted to the darker values of his hair or the dark sky behind him. Value contrasts also create shading that emphasize his strong arms and torso.
Value contrasts also define the shapes of the fleeing people and animals in How does Goya use the foreground. Animals defined by light color values are placed next to contrast to emphasize the others defined by darker values, and each shape stands out in contrast to giant in this composition? those nearby.
13. Goya Attended by Dr. Arrieta 1820, oil on canvas, 45-1/2” x 31-1/8”, The Minneapolis Institute of Arts
As opposed to all the images he painted of manʼs inhumanity to man, Goya painted this image of the loving care he received from his physician during a dangerous illness. He presented the painting, in gratitude, to his physician, pictured with him here. Again, Goya created emphasis with the placement of his subjects in the center of the canvas, taking up almost the entire height. Also, value changes define the contours of their bodies, and value contrast emphasizes them against the dark background. Between the two main subjects, the patient has more emphasis because of the lighter values of his clothing and skin tones.
Looking closely, dark faces emerge from the background to the left and How did Goya achieve right, but their value is so dark as to blend with the rest of the background. the contours of the men in this composition? The contrast between the dark background and the lighter values of the main subjects, in effect, creates a negative shape to outline the positive shapes of Dr. Arrieta and his patient.
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14. The Milkmaid of Bordeaux 1827, oil on canvas, 29-5/8” x 27-1/4”, Museo del Prado, Madrid
In 1824, Goya decided to leave Spain for exile in France. He lived in Bordeaux until his death in 1828, continuing to paint for his own enjoyment. He began to experiment with new artistic techniques, including using not only his his paint brushes, but also his palette knife and a rag, to apply the paint to his canvases. The broader strokes with which the paint was applied influenced the work of the Impressionists later in the century.
In this painting Goya captured a slightly out of focus vision of a woman as seen through his failing eyesight. Her shape is given emphasis by its size and placement in front of an indistinct, empty background in the center of the canvas. Her shape is the positive shape outlined by the negative shape of the background. Since Goya used similar colors in both the positive and The contours of her shape are defined by value contrasts, such as the negative shapes in contrasts between her dark hair and the lighter background, or her light face this painting, how was next to her dark hair. Value changes give dimension, through shading and he able to emphasize highlight, to her hair, face and shoulders, and to her clothing. the woman?
15. The Agility of Juanito Apinañi in the Bullring 1816, etching and aquatint, 9-5/8” x 14”, The Hispanic Society of America, New York
As a Spaniard, Goya was always a fan of bullfighting and attended some of the most famous bullfights of his day. Many of the works he created for his own enjoyment have bullfighting themes, and this etching comes from a series of 33 etchings entitled “The Art of Bullfighting.” The etchings originally were based on the history of the sport, but it evolved into depictions of the most dramatic moments he witnessed in his youth. This etching shows the remarkable skill of a What do you think this bullfighter as he vaults over the bull. Although we are aware that this scene bullfighter is thinking? takes place in a bullring, all emphasis is given to the bull and the What is the bull thinking? bullfighter.
The bull is a dark shape, emphasized by centering it in an empty white space across the bottom of the print. The only other shapes we see against that white space are the pole in the dirt in front of the bull, and the shadows of the bull and the bullfighter defining the ground below. The eye travels up the the pole to see the bullfighter, suspended momentarily in mid-air. The contours of his dark shape are outlined and emphasized by the contrast from the grey background behind him. Goya has drawn people in the stands in the background, but they have been created using subtle value changes. They combine with the rest of the background across the top half of the etching to create a negative shape surrounding the positive shape of the bullfighter.
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