Saturne: Peintures noires des hommes de la famille goya

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Licht, Fred (1983). Goya: The Origins of the Modern Temper in Art. Icon. p.288. ISBN 0-06-430123-0.

Desparmet Fitz-Gerald, X., L' œuvre peint de Goya. Catalogue raisonné, II, F. de Nobele, París, 1950, pp. 163, n. 117. Saturn Devouring His Son was one of six works Goya painted in the dining room. It is important to note that Goya never named the works he produced at Quinta del Sordo; the names were assigned by others after his death. [6] This interpretation of the painting sees it as a reference to the Roman myth (inspired by the original Greek myth), in which Terra (Gaea) foretold that one of the sons of Saturn would overthrow him, just as he had overthrown his father, Caelus ( Uranus). To prevent this, Saturn ate his children moments after each was born, eating the gods Vesta ( Hestia), Ceres ( Demeter), Juno ( Hera), Pluto ( Hades), and Neptune ( Poseidon). His wife Ops ( Rhea) eventually hid his sixth child and third son, Jupiter ( Zeus), on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Unlike the painting, the myths usually portray Saturn/Kronos swallowing his children, and later vomiting them up alive after swallowing the stone, rather than violently tearing them apart as in the painting. [ citation needed] Jupiter eventually supplanted his father just as the prophecy had predicted. Saturn (c. 1636-1638) by Peter Paul Rubens; Peter Paul Rubens, Public domain, via Wikimedia Commons Sánchez Cantón, Francisco Javier, Escultura y pintura del siglo XVIII. Francisco de Goya., XVII, Plus Ultra, Madrid, 1965, pp. 392, 394.

The painting is also seen as a commentary on the destructive nature of patriarchy and the abuse of familial relationships. The figure of Saturn, who is both father and killer, represents the destructive power of patriarchal authority and the way in which it can turn against those it is meant to protect. In this interpretation, the painting is a powerful critique of the abuse of power and the need for individuals to resist oppressive structures and systems. Today, Goya is held up as one of the three pillars of the Prado’s permanent collection, along with his idol Diego Velázquez and Peter Paul Rubens. His work is said to form a bridge between those old masters and the great moderns, prophesying expressionism and surrealism, which doesn’t make them any easier on the eye. I don't think I've ever seen a visitor whose expression hasn't changed. Even a yawning teenager will wake up when they see them Just as lines can be organic or geometric, so too can shapes and forms. If we look at the types of shape and form in the Saturn Devouring His Son painting it appears more organic, in other words, closer to nature, compared to geometric, which would be more angular and artificial-looking.

El conjuro or Las brujas (“The Conjuring” or “The Witches”), oil on canvas by Francisco Goya, 1797–98; in the Museo Lázaro Galdiano, Madrid. (more) en) Fred Licht, Goya: The Origins of the Modern Temper in Art, Icon, 1983, 288 p. ( ISBN 0-06-430123-0), p.288 Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, III, Museo del Prado, Espasa Calpe, Madrid, 1996, pp. 147, n. 536.

Desparmet Fitz-Gerald, X., L'oeuvre peint de Goya: catalogue raisonné., I, F. De Nobele, París, 1950, pp. 95, n. 36.

Today, Goya is one of the three pillars of the Prado’s permanent collection, along with his idol Diego Velázquez and Peter Paul Rubens. Some people can hardly even look at them,” says Teresa Vega, an art historian who leads guided tours in the museum and leaves that room for last. “I’ve had plenty of clients who didn’t like them at all. But when they walk in, they are always surprised. I don’t think I’ve ever seen a visitor whose expression hasn’t changed. Even a yawning teenager will wake up when they see them.” Because of his political leanings, Goya was a marked man. Ferdinand VII thought Goya had collaborated with Napoleon. Ferdinand warned “Goya, not only do you deserve the death, but the Gallows! If I forgive you, it’s because I admire you.”

Current Exhibitions

Angulo Íñiguez, Diego, El 'Saturno' y las pinturas negras de Goya, Archivo Español de Arte, XXXV, 1962, pp. 173-177. Sánchez Cantón, F. J., Vida y obras de Goya, Editorial Peninsular, Madrid, 1951, pp. 35, 37, 68, 160, 167. Culture Trip launched in 2011 with a simple yet passionate mission: to inspire people to go beyond their boundaries and experience what makes a place, its people and its culture special and meaningful — and this is still in our DNA today. We are proud that, for more than a decade, millions like you have trusted our award-winning recommendations by people who deeply understand what makes certain places and communities so special. Gudiol, José, Goya, 1746-1828: Biographie, Etude Analytique et Catalogue de ses Peintures, I, Ediciones PoligrafaS.A., Barcelona, 1984, pp. 33, 35; 102, n. 209; 137. Pour certains, la simplicité de cette représentation permet de la voir comme l’allégorie de nombreuses choses. Peut-être s’agit-il du conflit entre jeunesse et vieillesse, ou encore de la colère du divin. Il semble aussi possible qu’on ait sous les yeux le symbole des maux de la société espagnole : le pays vivait des années difficiles au début du XIXe siècle avec l’occupation napoléonienne, et avec différents conflits dans lesquels le pays envoyait ses habitants. Francisco de Goya lui-même souffrait physiquement de ses nombreux problèmes de santé : peut-être s’agit-il aussi d’une représentation de la souffrance physique et mentale induite par la peur de quelque chose. Car Saturne est un personnage effrayé, qui agit de manière atroce pour se sauver d’une menace.