Black Paintings

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The Black Paintings are a group of paintings by Francisco Goya created in the later years of his life (1819-1823) that portray intense, haunting themes.

In 1819 at the age of 72, Goya moved into a two-story house outside of Madrid called "Quinta del Sordo," or "Deaf Man's Villa". Although the house had been named after the previous owner who was deaf, Goya was himself deaf at the time as a result of an illness he suffered at the age of 46.

After the Napoleonic Wars and the turmoil of the Spanish government, Goya developed an embittered attitude towards humanity. He had an acute awareness of panic, terror, fear, and hysteria. Also surviving two near-fatal illnesses, Goya grew increasingly anxious and impatient in fear of relapse. These factors combined are thought to have led to his production of 14 works known as the Black Paintings.

Using oil paints and working directly onto the walls of his dining and sitting rooms, Goya created intense, haunting works with dark themes. The paintings were not commissioned, and they were not meant to leave his home; it is likely that the artist never intended the works for public exhibition: "...these paintings are as close to being hermetically private as any that have ever been produced in the history of Western art."^[1] He did not title the paintings, but art historians have since provided titles.^[2]

Contents 1 The collection 2 Questions of authenticity 3 Additional resources 4 Notes 5 External links

[edit] The collection

Perhaps the best known of the Black Paintings is Saturn Devouring His Son. The frightening image portrays the Roman god Saturn eating one of his children. (The Greek counterpart to Saturn is Cronus, father of Zeus.) Fearing a prophecy that one of his children would overthrow him, Saturn ate each of his children upon their birth. Goya depicts this act of cannibalism with startling savagery. The background is black, while the limbs and head of Saturn seem to pop out of the shadows. Saturn's eyes are huge and bulging as if he is mad. His fingers dig into the back of his son, whose head and right arm are already consumed. Saturn is about to take another bite of his child's left arm. The only use of color besides flesh-tones is the splash of red blood covering the mutilated outline of the upper part of the partially-eaten, motionless body, which is chillingly depicted in deathly white.

Another of Goya's dark paletted works from the Black Paintings collection is titled The Great He-Goat or Witches' Sabbath (El aquelarre). Earlier, Goya created a version of this work in a more cheerful and optimistic way; however, this image is ominous and gloomy. This earth-toned illustration shows Goya's demonstration of the ancient belief that the Sabbath was a meeting of witches supervised by the devil, who took the form of a goat. The goat is painted completely black and appears as a silhouette in front of a crowd of witches and warlocks. These "sub-humans" have sunken eyes and near horrifying features. The figures huddle together, leaning towards the devil. Only one girl seems resistant to the crowd, and she sits at the far right, dressed in black holding a muff. Though she does not appear involved in the ritual, she does seem to be captivated by the group's relationship to the devil.

Not all of the Black Paintings share the limited colors of the previous two examples. Fight With Clubs shows Goya's dramatic use of different shades of blue and red as two men cudgel each other. While in the original version they were fighting on a meadow, the painting was damaged during the transfer, and the version at Prado has been painted over, stressing the eeriness of the fighters, unable to escape each other's blows due to their knee-deep entrapment in quagmire. It has been taken as a premonition of the fight of the two Spains, that would dominate the following decades. Fantastic Vision also uses bright red in the garb of one of the two giant figures hovering over a group of horsemen, and also in the feather of the hat of a rifleman taking aim at these figures.

In 1823, an absolutist monarchy, Fernando VII, was re-established in Spain, and Goya went into hiding. A year later, he fled to Bordeaux, France and stayed there in a self-imposed exile for the remainder of his life.

The Black Paintings were transferred onto canvas in 1874 by Salvador Martínez Cubells, a restorer at the Prado Museum. The owner donated these canvases to the Spanish state in 1881, and they are now on display at the Museo del Prado in Madrid, Spain.^[3]

[edit] Questions of authenticity

Recent research has raised questions regarding the authenticity of the Black Paintings. Juan José Junquera, a professor of art history at Complutense University in Madrid, claims that some of the paintings were applied to walls which didn't exist in the house before the artist left for France, and that an inventory of the house in 1830 made no mention of the paintings. ^[4][5][6]

[edit] Additional resources

Wikimedia Commons has media related to: Pinturas negras

• John J. Ciofalo, "Blackened Myths, Mirrors, and Memories." The Self-Portraits of Francisco Goya. Cambridge University Press, 2001.
• Goya: The "Black Paintings" from Quinta del sordo. Ed. Mark Harden. 2004. 30, May 2005. [2]
• Licht, Fred. Goya: The Origins of the Modern temper in Art. Universe Books, 1979. ISBN 0-87663-294-0
• Storr, Anthony. Francisco de Goya y Lucientes/Artists 1650-1899/Main Art. LondonFoodFilmFiesta. 30, May 2005. [3]
• Stuart, Paul. Goya's private albums: A unique exhibition at the Hayward Gallery, London. World Socialist Web Site. 2001. 30, May 2005. [4]
• Time Life Library of Art. The World of Goya 1746-1828. New York: Time-Life Books, 1970.
• Goya's Black Paintings [5] Collection of articles, quotes and images.

[edit] Notes

[edit] External links

• Francisco de Goya's "Black paintings" in the "Quinta del sordo"

v • d • e Francisco Goya List of works Selected Works Blind Guitarist (1778) • Crucified Christ (1780) • Maria Teresa de Borbon y Vallabriga (1783) • Spring (or The Flower Girls) (1786–1787) • The Swing (1787) • St Francis Borja at the Deathbed of an Impenitent (1788) • Manuel Osorio de Zuniga (c. 1788) • Self-portrait (c. 1790–1795) • Little Giants (1791–1792) • Portrait of Mariana Waldstein (c. 1792) • Strolling Players (1793) • Yard with Lunatics (1793–1794) • Marquesa de la Solana (c. 1794–1795) • Duchess of Alba (1797) • Countess of Chinchon (1800) • La maja desnuda • Charles IV of Spain and His Family (1800–1801) • La maja vestida • Bartolome Sureda y Miserol (c. 1803–1804) • Isabel de Porcel (1804–1805) • Doña Teresa Sureda (c. 1805) • The Colossus (1808–1812) • Majas on a Balcony (c. 1808–1812) • Time (c. 1810–1812) • Prison Interior (c. 1810–1814) • The Second of May 1808 • The Third of May 1808 (1814) • Unfortunate events in the front seats of the ring of Madrid, and the death of the Mayor of Torrejon (1815–1816) • Burial of the Sardine (c. 1816) • Inquisition Scene (c. 1816) • The Procession (c. 1816) • The Forge (c. 1817) • The Giant (1818) • Self-portrait with Dr Arrieta (1820) • Men Reading (c. 1819–1823) • The Dog (1820–1823) • Fight with Cudgels (1820–1823) • The Great He-Goat or Witches Sabbath (c. 1821–1823) • Leocadia (c. 1821–1823) • Saturn Devouring His Son (c. 1821–1823) • Two Old Men (c. 1821–1823) • Two Old Women Eating from a Bowl (c. 1821–1823) • Two Young People Laughing at a Man (c. 1821–1823) • The Milkmaid (1825–1827) Etchings Los Caprichos The Sleep of Reason Produces Monsters (1797–1798)  • What a sacrifice! (1797–1798) • They say yes and give their hand to the first comer (1797–1798) • Que se la llevaron! (1797–1798) • You who cannot (1797–1798) The Disasters of War (Los desastres de la guerra) Contra el bien general (c. 1810)  • This is worse (c. 1812–1813) • May the rope break! (c. 1815)