Blake, Barry, Fuseli // Goya // Artists & Gender.
Blake, Barry, Fuseli.
- These artists were united by their relationship to Neo-Classicism. They were all outsiders due to their Republican political stance. They felt that the arts were in decline and that the British establishment was doing nothing to stop this decline of history painting. They thought History Painting was still at the top of the hierarchy.
- In this painting there is a Romantic wind that blows in two opposing directions. Stonehenge can be seen in the background, as though it was built by the Romans. Although it looks like a History Painting, it depicts the final tragic scene of Shakespeare's King Lear. The king himself if shown mourning the death of Cordelia, who points to her sister. Edgar, is the heroic male in the centre of the composition. The patron of this painting was John Bordeaux who encouraged British Painting. There is an emerging sense of British national identity. Lear looks like a typical poet figure. This is Britain showing its rich, cultural history at a time when it was an emerging power.
- 1707 Britain had formed with Scotland, it needed a past to present its purpose.
- Henry Fuseli was an icon of the Romanticism period. This painting displays a Romantic atmosphere, with emotions of horror. The gargoyle is the nightmare. A mare was thought to be an evil spirit that suffocates sleepers. Gothic looking. The chiaroscuro reflects the unknown. Suggestive eroticism. Drapery conceals yet reveals; although it is erotic, it is not explicit. It was a folkloric belief that a creature sat upon a chest is representative of a nightmare. A large part of people's personalities were irrational, the iceberg theory - most of it hidden (Freud). This is a prerequisite to Freud's idea. Not a morally improving history painting. Fuseli worked during the Enlightenment period, yet chose to depict irrational forces. This painting was displayed at the RA exhibition in 1782, it shocked viewers and critics. It is an invented scene. Prefigures late 19th century psychoanalytic theories. It shows the futility of light to penetrate/explain the darker realms of the unconscious - contrast Joseph Wright of Derby's Lecturing on Orrey - enlightening power of rational explanation.
- This is an episode taken from Milton. An epic depiction. It shows Satan before his form was lost, when he was lucifer (bringer of light). The light is show to comes from pandemonium (all the devils of hell). It looks much more like a history painting. Lucifer is portrayed as a heroic nude. We sympathise with Satan, why? - upper classes and bourgeoisie = overpowering god, Lucifer = down trodden society who will uprise. A subject that is sublime and irrational = Romantic. This piece was released during 1792-4 when the Jacobins were in charge and had decapitated Louis XVI and Antoinette, reign of terror. Shows the power of the people. Spears and shields illustrate Paradise Lost.
- "The original badboy of the 18th century." "Be silent unless your speech be better than silence." He cultivates his personality into his work --> Romantic thing to do. He was a Baroque painter, Proto-Romantic.
- Fuseli was Swiss but lived in Britain. He spoke German and had a great interest in Nordic mythology. Thor beats Midgard, the serpent which encompasses the world. Thor is an emblem of youthful strength, influenced the depiction of Satan by Barry (above). In the background we see Odin, the old figure of authority.
- The myth of the creation of Switzerland. Depicted very similarly to the Oath of Horatii by David, with strong linear forms. Rembrandt depicted the Oath of the Batavians = Mythological origins of the Dutch. Rutli = Rülischwur, the oath was taken on the Rütli, a meadow. Oath taken around 1300. Attempting to do the impossible - doomed yet glamorous = Romantic.
- Very Gothic self-portrait and painted with a cold palette. He shows himself studying the Belvedere torso with James Paine and Dominique Lefevre (a fellow student in Rome).
- In this portrait, the painting that Barry holds is based on a description by Pliny the Eder of a lost painting by Timanthes. It depicts a cyclops, behind him is the Laocoön. He places himseld between the two. A cast of the Laocoön is known to have been in his studio. In 1799, he was expelled from the RA - they only person every to be expelled. This painting was given to the Society of Arts, as they required a self-portrait from him.
- 175-83 - American war of independence.
- James Barry produced many engravings and etchings as he couldn't get the patronage to turn them into paintings. 1776 = American Revolution. A statue in the background holds the 'cap of liberty', an item that emancipated slaves used to wear. Ideals are being met across the pond. Barry displays his sympathy for the Americans by including a melancholic self-portrait in amongst the mourners for the dead Britannia. She died because her liberties now reside in America, where Phoenixes live - they are reborn. John Milton, an advocate for individual liberty, also mourns. Allegory depicting the death of liberty in Europe and its new home in America (the temple). Left - father time casts flowers on remnants of Athens, Rome and Florence. Right -British liberty lies on a tomb.
-Mercury/Commerce has been made to fly much lower over the personification of the Thames.
- Elohim = Hebrew for God. For Blake, the God of the Old Testament was an false God. He believed the fall of man occurred during creation when man was dragged from the spiritual realm and made material. The God oppresses Adam, restraining and crushing his capabilities, confining him and his thoughts. Grey haired, older being oppressing the younger generation. Christianity oppresses.
- Blake also viewed Newtonian science as oppressive. "Plato's Cave", we are chained by our 5 senses, we only see glimpses of eternity as we're limited and confined. Newton sees nothing of eternity as he's confined to calculations. The figure depicted is blind by reason. The vision of the Enlightenment is one of sleep, as it restricts the potential of the imagination and thought.
- 1807 - Reappeal of the Slave Trade. The figure depicted in this drawing is emotionally strong, he shows no fear, is silent. Imploring our pity. Blake supported the Anti-Slavery movement. The ship in the background suggests commerce and the means by which this man has been transported away from his country of origin.
- Albion is England, a personification of this Island. He symbolises England's political awakening and liberty.
- Nelson died at the battle of Waterloo (1815). Nelson is directing Leviathan (a great biblical sea monster, which Blake used as a symbol of war). Blake defended the Slave Trade, French revolution abolished it, Napoleon brought it back again. Influenced by the Laocoön and engravings of Indian Gods - Shira dances with snakes. He dances they universe into being and dances it out again. Is he saving the slave beneath or oppressing it? He crushes the 'monster' of the world like the British Empire. Blake is the most German of the English Romantics as they too had a heightened form of spirituality, he was resultantly, very popular with the Germans.
Goya.
- Goya was from Spain where the feudal structure meant that wealth wasn't invested in the industrial revolution. Goya received a lot of patronage from the Court.
- This painting has a very Rococo feel, a carefree joyousness. Dark tones. It presents the life of the lower classes as exciting and dangerous, if you looked wrongly at them you could be stabbed, sense of unease.
- This painting portrays the dangerous lower classes, with their faces concealed.
- This painting shows the nonchalance of the upper class driving through the lower class areas.
- In the late 18th century, there were belated attempts to reform the abuses of the Catholic church and the aristocracy to help those in accidents. The Bourbon monarchy needed to be reformed. France represented modernity, called Ilustrados --> lighted ones.
- This painting depicts a pastime of the lower classes, appears frivolous and futile, joyful, not weighted down by load-bearing tasks.
- The Wedding. Something rather dark as they're cast in shadow. Under a bridge, odd location for a wedding. Summer as lack of water.
- This painting depicts several witches gathered around a "He Goat". Caricatured and disfigured faces, they're inhuman people. It has been suggested that these figures are associated with nightmares - Goya would have seen Fuseli's prints and engravings. At this time the Catholic church was prosecuting witches. They are depicted eating babies and starving the children, very unwomanly things to be doing. They are half-clothed, wrapping some around their head, we question their sanity. The 'He Goat' has a very bright face, we're drawn to this eye. This is satirical, Goya was poking fun at superstitions. Romantic interest in mystical fascination and esotericism.
• Spanish Inquisition = A group of institutions in the government. System of Catholic church who aimed to combat heresy. Ends in 1826 with the last execution at outset, main focus was on Jews and Judaizers (Christian convert of Jewish ancestry who were accused of adhering to Judaism).
- The witches in this paintings wear the hats of those presented to the Spanish inquisition and that of the pope. People fled in terror as they were brought before the inquisition. Donkey = Folly and Superstition. Fascination and satire continues.
- In the 1970s, Goya continued to do work for the aristocracy, but also did little private commissions for his friends of superstition.
- This painting represents a scene from the play "The Forcibly Bewitched." If the lamp goes out his life will too be extinguished. A demonic being is in charge of the lamp. He is associating folly and superstition with the pope. Satirical.
- Here, a satirical man wears a crown in the foreground. Concern of conditions of those suffering. During the enlightenment there was an increasing division between those who were rational and those who were insane. We see a heightened focus on the irrational, seeing the extent of the human mind. Claustrophobic, enclosed space, victory of French wasn't accompanied by the victory of citizens.
- This is a portrait of an enlightened man at his desk, writing for the good of his nation.
- Goya also produced a series of etching and aquatints on superstition and satire.
- Here there is a darkness around the figures and a sparseness of space, it conjours up a weight of superstition.
- This is a satire of aristocracy, donkeys and donkeys, as far back as can see - focus of family tree. How stupid the rules of fine breeding.
- This is a satire of the church, the spoon-feed the nation and are themselves spoon fed, told what to do and what to say, they don't think for themselves. Not open to new ideas or the enlightenment. Their ears are locked shut, remain true to what they know.
- Goya painted the nude first, then did the clothed version. They are both the same size. They are most likely commissioned by Manuel de Godoy. Maja has a straight forward and unashamed gaze. Breaks from traditional styles as the accompanying one shows a woman in contemporary dress, not as a mythical subject, but as a nude Spanish woman. She is frontal, unlike Velazquez's Rokeby Venus. Short and angular figuration, Velazquez's is elongated and curvilinear. Maja = 'Maccha'. Potentially the mistress of Manuel Godoy. "Prince of Peace".
- This later inspired Manet's On the Balcony.
1806 - French invaded Germany
1808 - French invaded Spain
- The war against Napoleonic invaders is often referred to as the 'war of the knife' - people fought with whatever they could - blood of war. Humble man caught in the conflict.
- Spain was fought over and ruled by world powers. It was an ulcer in the stomach of the Napoleonic Empire. Caught in the crossfire. Colossus = France.
- Oart of the 'disasters of war' series. This series influence the Chapman brothers who created mini models, one is displayed to encourage others not to rise up against the French.
- Again, a very confined atmosphere. Goya created an iconology and repeats it... man in crown etc.
- Goya also painted contemporary scenes of conflict and upheaval.
- This painting is very large - history painting. The canvas is divided into light and dark. The eye of the viewer follows the weapons to the man in white. He's in white, trapped against a hill. Gunman in a diagonal line, creating an illusion of depth and space. Energetic brushwork, very loose, depicts a single moment, the speed of the execution reflects the immediacy. Speed of rampage of the French. We see the facts of those who were being murdered. Machine like assassins. Victims and perpetrators of violence. An innocent martyr - christ-like (orant position). Romantic - emotional expression comes to surface, individualised response. Inhumane beings, he's killed for no reason. Use symbolism, man in white - martyr, small indentations on palms, recalling stigmata. This is Goya's point of view. Rhw wasn't made for a patron but it was made as he needed to show and record what monstrosities were occurring. Forces of modernity cast in darkness.
- Perpetrators who have been convicted and are presented to inquisitor, look fearful, and hang heads in shame.
- Very dark, oil on plaster, mounted onto canvas. Stark faces, like Van Gogh's Potato Eaters.
- Death scene again.
- This was made decorate his home, painted on the wall. It had been prophesied to Saturn (god of time) that one of his children would dethrone him, so he devours them, but Jupiter gets away. Saturn is dethroned and doesn't avoid his fate, he causes it by trying to avoid it. Reminds is that it is an allegory of power and how power treats its children. Goya saw the Spanish state destroy the country. He also saw the Napoleonic army destroy the country, and the restoration of the state, destroyed country, Cyclical nature of time. Saturns bulging eyes - frantic, he won't lose his power, also he understands how revile his frenzied actions are, he is as fleshy as the meat he devours, skin wraps around his elbow. Extra pieces of him above his hip. His insanity is reflected in the physical grotesque body. Goya's reflection of the world he saw.
Artists and Gender.
- Sir Joshua Reynolds was the first president of the Royal Academy. His painting style is like that of Rembrandt, with lots of dark colours, and use of red. In this Self-Portrait, behind Reynolds is a bust of Michelangelo cast in shadow by this new 'genius'. He creates a sense of dignity with his limited palette. He presents himself as formal and well-dressed, an 'up & coming' gentleman. Reynolds commended Rembrandt's broad brushwork and incorporates it into his own work. He doesn't present himself with a paintbrush, if you were in the academy, you were an intellectual, and a learned man.
- In this painting, Gentileschi presents herself as the allegory of painting, as described in Iconologia - with clean hair, paint brush, palette and a gold chain. She represents her intellect by illustrating a knowledge for this text and presenting herself as the allegory. "I can be in this line of work because muses are women." Gentileschi was the daughter of a friend of Caravaggio, she incorporates his intense chiaroscuro and tenebrism into her own work.
- This self-portrait of Elizabeth Vigee-Lebrun is frontal, but softened with the turn of the shoulder and gesturing hand. She is represented as a lady of refinement. Her chemise gives a sense of undress, and not completely formal. But more authoritative than Ruben's Susanna Lunden. The fashion is similar in both portraits. Lunden's portrait is less formal, the only expression is that of wealth (earring). There is a suggestion that when you go into nature the heart is softened and you reveal yourself. A gentle breeze is present. Susanna is more restrictive, she holds and comforts herself, not at ease. A young girl, unable to cope with her position.
- This is a very maternal painting. Lebrun was of the opinion that women should breast feed their children, and not give them to a wet nurse. This image shows her maternal bond with her daughter.
- Ut pictura poesis - As is painting so is poetry.
Kauffman completed the roundels for the new Royal Academy. She represents herself as Painting and having a sister relationship with Poetry. She holds a 'porte crayon' - which holds chalk at one end and charcoal at the other.
- Minerva - Goddess of Wisdom. Here again she holds a Porte Crayon. This painting echoes the self-portrait of Sir Joshua Reynolds as he has the bust of Michelangelo in the shadows, as she does Minerva.
- This is an autobiographical painting. Painting on the right explains that it won't be an easy career, as she points to the rocky mountain. Kauffman condoles with Music as she goes with Painting.
- This painting presents a Romantic wind. Movement around the head tends to symbolise the Romantic cult of genius and intellect.
- These artists were united by their relationship to Neo-Classicism. They were all outsiders due to their Republican political stance. They felt that the arts were in decline and that the British establishment was doing nothing to stop this decline of history painting. They thought History Painting was still at the top of the hierarchy.
 |
| James Barry, King Lear, 1786-8 |
- In this painting there is a Romantic wind that blows in two opposing directions. Stonehenge can be seen in the background, as though it was built by the Romans. Although it looks like a History Painting, it depicts the final tragic scene of Shakespeare's King Lear. The king himself if shown mourning the death of Cordelia, who points to her sister. Edgar, is the heroic male in the centre of the composition. The patron of this painting was John Bordeaux who encouraged British Painting. There is an emerging sense of British national identity. Lear looks like a typical poet figure. This is Britain showing its rich, cultural history at a time when it was an emerging power.
- 1707 Britain had formed with Scotland, it needed a past to present its purpose.
 |
| Henry Fuseli, The Nightmare, 1782 |
- Henry Fuseli was an icon of the Romanticism period. This painting displays a Romantic atmosphere, with emotions of horror. The gargoyle is the nightmare. A mare was thought to be an evil spirit that suffocates sleepers. Gothic looking. The chiaroscuro reflects the unknown. Suggestive eroticism. Drapery conceals yet reveals; although it is erotic, it is not explicit. It was a folkloric belief that a creature sat upon a chest is representative of a nightmare. A large part of people's personalities were irrational, the iceberg theory - most of it hidden (Freud). This is a prerequisite to Freud's idea. Not a morally improving history painting. Fuseli worked during the Enlightenment period, yet chose to depict irrational forces. This painting was displayed at the RA exhibition in 1782, it shocked viewers and critics. It is an invented scene. Prefigures late 19th century psychoanalytic theories. It shows the futility of light to penetrate/explain the darker realms of the unconscious - contrast Joseph Wright of Derby's Lecturing on Orrey - enlightening power of rational explanation.
 |
| Barry, Satan and his Legions hurling defiance (towards the vault of heaven), 1792-4 |
- This is an episode taken from Milton. An epic depiction. It shows Satan before his form was lost, when he was lucifer (bringer of light). The light is show to comes from pandemonium (all the devils of hell). It looks much more like a history painting. Lucifer is portrayed as a heroic nude. We sympathise with Satan, why? - upper classes and bourgeoisie = overpowering god, Lucifer = down trodden society who will uprise. A subject that is sublime and irrational = Romantic. This piece was released during 1792-4 when the Jacobins were in charge and had decapitated Louis XVI and Antoinette, reign of terror. Shows the power of the people. Spears and shields illustrate Paradise Lost.
 |
| Salvator Rosa, Self-Portrait, 1650s |
- "The original badboy of the 18th century." "Be silent unless your speech be better than silence." He cultivates his personality into his work --> Romantic thing to do. He was a Baroque painter, Proto-Romantic.
 |
| Fuseli, Thor Battering the Midgard Serpent, 1790 |
- Fuseli was Swiss but lived in Britain. He spoke German and had a great interest in Nordic mythology. Thor beats Midgard, the serpent which encompasses the world. Thor is an emblem of youthful strength, influenced the depiction of Satan by Barry (above). In the background we see Odin, the old figure of authority.
 |
| Fuseli, The Oath of the Rutli, 1780 |
- The myth of the creation of Switzerland. Depicted very similarly to the Oath of Horatii by David, with strong linear forms. Rembrandt depicted the Oath of the Batavians = Mythological origins of the Dutch. Rutli = Rülischwur, the oath was taken on the Rütli, a meadow. Oath taken around 1300. Attempting to do the impossible - doomed yet glamorous = Romantic.
 |
| Barry, Self-Portrait with Paine and Lefevre, 1767 |
- Very Gothic self-portrait and painted with a cold palette. He shows himself studying the Belvedere torso with James Paine and Dominique Lefevre (a fellow student in Rome).
 |
| Barry, Self-Portrait at Timanthes, 1803 |
- In this portrait, the painting that Barry holds is based on a description by Pliny the Eder of a lost painting by Timanthes. It depicts a cyclops, behind him is the Laocoön. He places himseld between the two. A cast of the Laocoön is known to have been in his studio. In 1799, he was expelled from the RA - they only person every to be expelled. This painting was given to the Society of Arts, as they required a self-portrait from him.
- 175-83 - American war of independence.
 |
| Barry, The Phoenix (or The Resurrection of Freedom), 1776-1808 |
- James Barry produced many engravings and etchings as he couldn't get the patronage to turn them into paintings. 1776 = American Revolution. A statue in the background holds the 'cap of liberty', an item that emancipated slaves used to wear. Ideals are being met across the pond. Barry displays his sympathy for the Americans by including a melancholic self-portrait in amongst the mourners for the dead Britannia. She died because her liberties now reside in America, where Phoenixes live - they are reborn. John Milton, an advocate for individual liberty, also mourns. Allegory depicting the death of liberty in Europe and its new home in America (the temple). Left - father time casts flowers on remnants of Athens, Rome and Florence. Right -British liberty lies on a tomb.
 |
| Barry, Commerce, 1792 |
-Mercury/Commerce has been made to fly much lower over the personification of the Thames.
 |
| William Blake, Elohim Creating Adam, 1795-1805 |
- Elohim = Hebrew for God. For Blake, the God of the Old Testament was an false God. He believed the fall of man occurred during creation when man was dragged from the spiritual realm and made material. The God oppresses Adam, restraining and crushing his capabilities, confining him and his thoughts. Grey haired, older being oppressing the younger generation. Christianity oppresses.
 |
| William Blake, Reason and Imagination, 1795 |
- Blake also viewed Newtonian science as oppressive. "Plato's Cave", we are chained by our 5 senses, we only see glimpses of eternity as we're limited and confined. Newton sees nothing of eternity as he's confined to calculations. The figure depicted is blind by reason. The vision of the Enlightenment is one of sleep, as it restricts the potential of the imagination and thought.
 |
| William Blake, A Negro Hung by the Ribs to the Gallows, 1796 |
- 1807 - Reappeal of the Slave Trade. The figure depicted in this drawing is emotionally strong, he shows no fear, is silent. Imploring our pity. Blake supported the Anti-Slavery movement. The ship in the background suggests commerce and the means by which this man has been transported away from his country of origin.
 |
| William Blake, Glad Day/ Albion Rose, c. 1794-5 |
- Albion is England, a personification of this Island. He symbolises England's political awakening and liberty.
 |
| Blake, The Spiritual Form of Nelson Guiding Leviathan, 1809 exhibition |
- Nelson died at the battle of Waterloo (1815). Nelson is directing Leviathan (a great biblical sea monster, which Blake used as a symbol of war). Blake defended the Slave Trade, French revolution abolished it, Napoleon brought it back again. Influenced by the Laocoön and engravings of Indian Gods - Shira dances with snakes. He dances they universe into being and dances it out again. Is he saving the slave beneath or oppressing it? He crushes the 'monster' of the world like the British Empire. Blake is the most German of the English Romantics as they too had a heightened form of spirituality, he was resultantly, very popular with the Germans.
Goya.
- Goya was from Spain where the feudal structure meant that wealth wasn't invested in the industrial revolution. Goya received a lot of patronage from the Court.
 |
| Goya, Dance of the majos on the Banks of the Manzanares, 1777, Prado, Madrid |
- This painting has a very Rococo feel, a carefree joyousness. Dark tones. It presents the life of the lower classes as exciting and dangerous, if you looked wrongly at them you could be stabbed, sense of unease.
 |
| Goya, A Walk in Andalusia, 1777, Prado, Madrid |
- This painting portrays the dangerous lower classes, with their faces concealed.
 |
| Goya, The Crockery Vendor, 1779, Prado, Madrid |
- This painting shows the nonchalance of the upper class driving through the lower class areas.
 |
| Goya, The Injured Mason, 1786-87, Prado, Madrid |
- In the late 18th century, there were belated attempts to reform the abuses of the Catholic church and the aristocracy to help those in accidents. The Bourbon monarchy needed to be reformed. France represented modernity, called Ilustrados --> lighted ones.
 |
| Goya, The Straw Manikin, 1791-92, Prado, Madrid |
- This painting depicts a pastime of the lower classes, appears frivolous and futile, joyful, not weighted down by load-bearing tasks.
 |
| Goya, The Wedding, 1791-92, Prado, Madrid |
- The Wedding. Something rather dark as they're cast in shadow. Under a bridge, odd location for a wedding. Summer as lack of water.
 |
| Goya, Witches Sabbath, 1789, Madrid |
- This painting depicts several witches gathered around a "He Goat". Caricatured and disfigured faces, they're inhuman people. It has been suggested that these figures are associated with nightmares - Goya would have seen Fuseli's prints and engravings. At this time the Catholic church was prosecuting witches. They are depicted eating babies and starving the children, very unwomanly things to be doing. They are half-clothed, wrapping some around their head, we question their sanity. The 'He Goat' has a very bright face, we're drawn to this eye. This is satirical, Goya was poking fun at superstitions. Romantic interest in mystical fascination and esotericism.
• Spanish Inquisition = A group of institutions in the government. System of Catholic church who aimed to combat heresy. Ends in 1826 with the last execution at outset, main focus was on Jews and Judaizers (Christian convert of Jewish ancestry who were accused of adhering to Judaism).
 |
| Goya, Witches in the Air, 1797-98, Prado, Madrid |
- The witches in this paintings wear the hats of those presented to the Spanish inquisition and that of the pope. People fled in terror as they were brought before the inquisition. Donkey = Folly and Superstition. Fascination and satire continues.
- In the 1970s, Goya continued to do work for the aristocracy, but also did little private commissions for his friends of superstition.
 |
| Goya, The Bewitched Man, c. 1798, National Gallery, London |
- This painting represents a scene from the play "The Forcibly Bewitched." If the lamp goes out his life will too be extinguished. A demonic being is in charge of the lamp. He is associating folly and superstition with the pope. Satirical.
 |
| Goya, The Yard of a Madhouse, 1794, Dallas |
- Here, a satirical man wears a crown in the foreground. Concern of conditions of those suffering. During the enlightenment there was an increasing division between those who were rational and those who were insane. We see a heightened focus on the irrational, seeing the extent of the human mind. Claustrophobic, enclosed space, victory of French wasn't accompanied by the victory of citizens.
 |
| Goya, Gaspar Melchor de Jovellanos, 1798, Prado, Madrid |
- This is a portrait of an enlightened man at his desk, writing for the good of his nation.
- Goya also produced a series of etching and aquatints on superstition and satire.
 |
| Goya, Out Hunting for Teeth!, 1797-98, Paris |
- Here there is a darkness around the figures and a sparseness of space, it conjours up a weight of superstition.
 |
| Goya, As Far Back as his Grandfather, 1797-98 |
- This is a satire of aristocracy, donkeys and donkeys, as far back as can see - focus of family tree. How stupid the rules of fine breeding.
 |
| Goya, The Chinchillas, 1799 |
- This is a satire of the church, the spoon-feed the nation and are themselves spoon fed, told what to do and what to say, they don't think for themselves. Not open to new ideas or the enlightenment. Their ears are locked shut, remain true to what they know.
 |
| Goya, The Clothed Maja, 1800-03, Prado, Madrid |
 |
| Goya, The Nude Maja, 1799-1800, Prado, Madrid |
- Goya painted the nude first, then did the clothed version. They are both the same size. They are most likely commissioned by Manuel de Godoy. Maja has a straight forward and unashamed gaze. Breaks from traditional styles as the accompanying one shows a woman in contemporary dress, not as a mythical subject, but as a nude Spanish woman. She is frontal, unlike Velazquez's Rokeby Venus. Short and angular figuration, Velazquez's is elongated and curvilinear. Maja = 'Maccha'. Potentially the mistress of Manuel Godoy. "Prince of Peace".
 |
| Goya, Majas on a Balcony, 1800-04, Met Museum, NYC |
- This later inspired Manet's On the Balcony.
1806 - French invaded Germany
1808 - French invaded Spain
 |
| Goya, The Knife Grinder, 1808-12, Budapest |
- The war against Napoleonic invaders is often referred to as the 'war of the knife' - people fought with whatever they could - blood of war. Humble man caught in the conflict.
 |
| Goya, The Colossus, 1808, Prado, Madrid |
- Spain was fought over and ruled by world powers. It was an ulcer in the stomach of the Napoleonic Empire. Caught in the crossfire. Colossus = France.
 |
| Goya, This is Worse, 1812-15 |
- Oart of the 'disasters of war' series. This series influence the Chapman brothers who created mini models, one is displayed to encourage others not to rise up against the French.
 |
| Goya, The Madhouse, 1812-14, Madrid |
- Again, a very confined atmosphere. Goya created an iconology and repeats it... man in crown etc.
 |
| Goya, The 2nd of May, 1808: The Charge of the Mamelukes, 1814, Prado, Madrid |
- Goya also painted contemporary scenes of conflict and upheaval.
 |
| Goya, The Third of May, 1808: The Execution of the Defender of Madrid, 1814, Prado, Madrid |
- This painting is very large - history painting. The canvas is divided into light and dark. The eye of the viewer follows the weapons to the man in white. He's in white, trapped against a hill. Gunman in a diagonal line, creating an illusion of depth and space. Energetic brushwork, very loose, depicts a single moment, the speed of the execution reflects the immediacy. Speed of rampage of the French. We see the facts of those who were being murdered. Machine like assassins. Victims and perpetrators of violence. An innocent martyr - christ-like (orant position). Romantic - emotional expression comes to surface, individualised response. Inhumane beings, he's killed for no reason. Use symbolism, man in white - martyr, small indentations on palms, recalling stigmata. This is Goya's point of view. Rhw wasn't made for a patron but it was made as he needed to show and record what monstrosities were occurring. Forces of modernity cast in darkness.
 |
| Goya, The Inquisition Tribunal, 1812-19, Madrid |
- Perpetrators who have been convicted and are presented to inquisitor, look fearful, and hang heads in shame.
 |
| Goya, Witches Sabbath, 1820-23, Prado, Madrid |
- Very dark, oil on plaster, mounted onto canvas. Stark faces, like Van Gogh's Potato Eaters.
 |
| Goya, A Pilgrimage to San Isidro, 1820-23, Prado, Madrid |
- Death scene again.
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| Goya, Saturn Devouring one of his Children, 1819-23, Prado, Madrid |
- This was made decorate his home, painted on the wall. It had been prophesied to Saturn (god of time) that one of his children would dethrone him, so he devours them, but Jupiter gets away. Saturn is dethroned and doesn't avoid his fate, he causes it by trying to avoid it. Reminds is that it is an allegory of power and how power treats its children. Goya saw the Spanish state destroy the country. He also saw the Napoleonic army destroy the country, and the restoration of the state, destroyed country, Cyclical nature of time. Saturns bulging eyes - frantic, he won't lose his power, also he understands how revile his frenzied actions are, he is as fleshy as the meat he devours, skin wraps around his elbow. Extra pieces of him above his hip. His insanity is reflected in the physical grotesque body. Goya's reflection of the world he saw.
Artists and Gender.
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| Joshua Reynolds, Self-Portrait, c. 1780, RA, London |
- Sir Joshua Reynolds was the first president of the Royal Academy. His painting style is like that of Rembrandt, with lots of dark colours, and use of red. In this Self-Portrait, behind Reynolds is a bust of Michelangelo cast in shadow by this new 'genius'. He creates a sense of dignity with his limited palette. He presents himself as formal and well-dressed, an 'up & coming' gentleman. Reynolds commended Rembrandt's broad brushwork and incorporates it into his own work. He doesn't present himself with a paintbrush, if you were in the academy, you were an intellectual, and a learned man.
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| Artemisia Gentileschi, Self-Portrait as Allegory of Painting, 1638-9, Royal Collection, Hampton Court |
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| Elizabeth Vigee-Lebrun, Self-Portrait with a Straw Hat, after 1782, National Gallery, London |
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| Rubens, Susanna Lunden? c. 1622-5, National Gallery, London |
- This self-portrait of Elizabeth Vigee-Lebrun is frontal, but softened with the turn of the shoulder and gesturing hand. She is represented as a lady of refinement. Her chemise gives a sense of undress, and not completely formal. But more authoritative than Ruben's Susanna Lunden. The fashion is similar in both portraits. Lunden's portrait is less formal, the only expression is that of wealth (earring). There is a suggestion that when you go into nature the heart is softened and you reveal yourself. A gentle breeze is present. Susanna is more restrictive, she holds and comforts herself, not at ease. A young girl, unable to cope with her position.
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| Elizabeth Vigee-Lebrun, Self-Portrait with her Daughter, Julie, c. 1789, Louvre, Paris |
- This is a very maternal painting. Lebrun was of the opinion that women should breast feed their children, and not give them to a wet nurse. This image shows her maternal bond with her daughter.
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| Angelica Kauffman, Self-Portrait as Painting listening to the Inspiration of Poetry, 1782, Kenwood House, London |
- Ut pictura poesis - As is painting so is poetry.
Kauffman completed the roundels for the new Royal Academy. She represents herself as Painting and having a sister relationship with Poetry. She holds a 'porte crayon' - which holds chalk at one end and charcoal at the other.
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| Angelica Kauffman, Self-Portrait with the Bust of Minerva, 1780, Chur, Switzerland |
- Minerva - Goddess of Wisdom. Here again she holds a Porte Crayon. This painting echoes the self-portrait of Sir Joshua Reynolds as he has the bust of Michelangelo in the shadows, as she does Minerva.
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| Angelica Kauffman, Self-Portrait Hesitating Between the arts of Music and Painting, 1791 |
- This is an autobiographical painting. Painting on the right explains that it won't be an easy career, as she points to the rocky mountain. Kauffman condoles with Music as she goes with Painting.
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| Anne-Louis Girodet-Trioson, Chateaubriand, 1809 |
- This painting presents a Romantic wind. Movement around the head tends to symbolise the Romantic cult of genius and intellect.
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