Analysis Of The Third Of May: The Horrors Of War

For centuries, the horrors of war were often forgotten as the glories of war were celebrated. Women and children lined the streets to celebrate victories of returning war heroes, and men often sought the glory of the battlefield. Indeed, the benefits of battle — of war — have often overshadowed the realities of war and the horrors that leave men changed and women husbandless. After the war is over, men spend sleepless nights dreaming of the reality of the battlefield they had left behind. There was always those who would not make it home, always those who were never the same, and always those faced the horrors of war head on, never forgetting they once imagined its glories. In The Third of May, 1808 by Francisco Goya, A Harvest of Death by

Gettysburg was one of the bloodiest battles of the Civil War, where tens of thousands of soldiers were either wounded, captured, killed, or listed as missing. This was the battle that redefined what the purpose of the war was and how to honor those soldiers who had fallen in battle. It has been described as the war’s turning point and involved the largest number of casualties. It was such a horrific battle that is depicted in this photo, and that is evident in the bodies strewn across the battlefield. As far as the eye can see, there are people who have been lost because of the war. The starkness of the black-and-white coloring brings to light the reality of the war, where nothing is so simple. There is only gray area in war, and that is where the horrors

Both images provide shocking portrayals of deceased bodies, who died fighting for a cause and are left to bloody the ground. A Harvest of Death’s focal point is the bodies strewn across the battlefield, left after what must have been a horrifying fight. The most compelling aspect of the painting is the body that rests near the front of the camera, where viewers can see his mused clothes and what death actually looks like rather than just imagining it in paintings. In contrast, the most compelling aspect of Goya’s painting is the people still alive, who seem to be at different points of mourning for the lives they once lived. Their responses vary from praying, sobbing, and some stand defiant. However, lit and standing with his arms flung outward, the central figure of the painting — and the object of focus — is still alive and seems to be standing in front of other people that are in line to be slaughtered next. His expression is different from those who stand defiant of the soldiers, different from those that are praying — he seems sad, as though he wants to change the outcome of this exact moment and that is what makes him so powerful. He shows the desire to change the horrors of war and find something better for the people around him, for the