Module 05 Media Analysis Project - Final Paper
This media analysis project analyzes the great paint: The 3rd of May 1808 in Madrid. Oil on canvas, 268 x 347 cm, finished in 1814 by the Spanish painter Francisco Goya, now in the Museo del Prado, Madrid. It is a representation of the execution of patriots from Madrid by a firing squad from Napoleon´s army in reprisal for their rebellion against the French occupation on the second of May 1808 (Museo del Prado, 2017).
The Executions as it is also named is acclaimed as one of the remarkable paintings of all time and has even been called the world’s first modern painting. The Goya’s canvas is not for sale, but its value is incalculable. The earning for it exhibition in the museum and the sales
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He did not violate any person's rights to meet the needs of viewers in an aesthetically appealing (Memorize.com, 2011). The image choices were justified because the event really happened, and the visual message does not cause unjustified harm. As a good example, it is evident that while most of the victims have faces, the French soldiers (the killers) in the paint do not, possible to denote inhumanity, but without the use of cruelty faces giving birth to the modern image of war as anonymous killing (Khan Academy.org, 2017).
Additionally, it can be read as an apology from Goya. Because during the French occupation, Goya maintained his position as the court's painter, which means that he had to swear loyalty to the usurper Joseph Bonaparte. Finally, when the French were expelled from Spain in 1814, Goya asked the nation's provisionary government leaders to perpetuate using his brush the most notable and heroic actions of our glorious insurrection against the tyrant of Europe, which led to the commission of this pair of paintings (Puchko,
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But, Goya is not only criticizing the nations that wage war on one another. He is also admonishing us, the viewers, for being complicit in acts of violence, which occur not between abstract entities (like countries), but between human beings standing a few feet away from one another (Khan Academy.org, 2017). Besides, for the people who enjoy watching the symbols and characteristics of preromantic movement, will appreciate that Goya’s painting has been glorified for its brilliant transformation of Christian iconography and its poignant portrayal of man’s inhumanity to man (Museo del Prado, 2017). Essential details which made that The Third of May 1808 in Madrid be acclaimed as one of the greats graphic artworks of all time and has even been baptized the world’s first modern painting (Khan Academy.org,
Looking back into the history of certain events affords the modern researcher the ability to examine a variety of documents and artifacts. It is important, however, to take into account biases, inaccuracies, errors in translation, and overall misinformation when examining primary sources, particularly historical documents. Examining the history of the conquest of the Aztec empire is no different, and in a scenario as tense as it was it is extremely important to consider the authorship of the text. Bernal Diaz’ The Conquest of New Spain and Miguel Leon-Portilla’s The Broken Spears: The Aztec Account of the Conquest of Mexico offer two distinct looks into the same event in history. Both documents offer differing takes of the same events, so when
The astonishingly brilliant artist Francisco José de Goya y Lucientes has always been revered and adored for his incredible paintings of the Spanish Royal family, but not many know that he was also a masterful engraver. In the exhibit titled Renaissance to Goya: Prints and Drawings from Spain, many of the pieces displayed were based on social commentary of the period within the country. This disdain is particularly palpable in the etching by Goya titled The Sleep of Reason Produces Monsters. The psychological and emotional state of Goya at the time is masterfully rendered and the presentation of the exhibit is absolutely remarkable due to its brilliant color scheme and expert presentation of the works.
Jacques-Louis David’s Oath of the Horatii and Francisco Goya’s Third of May, 1808 are both large scale paintings that contain an intense emotional element by using an oil medium on canvas. David’s Oath of the Horatii is a history painting, meaning that it has a moralizing message along with classical antiquity of a Roman legend. Jacques-Louis David was a member of the French Royal Academy, which was controlled by the monarchy. In contrast, Spanish artist Francisco Goya’s Third of May, 1808 is often referred to as the “world’s first modern painting,” as it shows the distress and suffering of the Spanish at the time. This painting is an example of Romanticism, as it shows Goya’s political sympathies.
In this work, the colors and shapes come together to form the depiction of a woman in a chair gazing out at the landscape beyond a window. This subject matter relates to Picasso’s infamous relationship with women and may serve as a depiction of one of the many women he was linked with. The painting depicts the woman with a dual omniscient and introspective vision. Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality...
“First be a magnificent artist and then you can do whatever, but the art must be first” by Francisco de Goya. Francisco de Goya has produced many different forms of art throughout his life. One in spectacular, ¿No Hay Quien Nos Desate? which translates into Will No One Untie Us? is the 75th plate out of a series of 80 prints called Los Caprichos. Los Caprichos were made by aquatint and etching in 1797 and 1798 but was published as an album later in 1799. Goya “recently developed the technique of aquatint, which makes these etchings a major achievement in the history of engraving” (Magister). In 1789, Goya became an official Court painter and painted several pictures of the Spanish Royal family. Francisco de Goya is one
During Napoleons invasion and the Spanish war of Independence Goya became court painter for the French from 1808 to 1814. King Ferdinan VIII, king of Spain brings Goya back to Spain as Chamber Painter after the war.
La Movida Madrileña, meaning “The Action of Madrid”, was an unplanned countercultural movement from 1977 to 1985 in Spain. It began when Dictator Francisco Franco died and Spain erupted with pent-up energy. It was a movement that valued style over substance. The cultural revolution was evident in the music, subculture, fashion, alcohol, drugs, and sexual experimentation. La Movida took place primarily in Madrid, although some other cities such as Barcelona and Vigo had their own Movidas. Popular nightlife slang of the time reflected the spirit of the movement: “¿Dónde está la movida?”— “Where’s the action?”
The formal analysis of The 3rd of May, 1808, Francisco Goya, 1814, oil on canvas. In the following written composition I will examine The 3rd of May, 1808 in a context which will allow me to identify formal elements that Goya manipulated to influence the viewers with a specific outlining message. This work was completed in 1814 using oil on canvas medium. This piece of art stands at approximately 266 by 345cm. This was common for historical paintings to be substantially grander in size. Goya’s goal in this specific painting is to depict the sorrow and heartache connected with the Peninsular war. In this specific work The 3rd of May 1808 he highlights the honor of the massacred Spanish rebellions opposed to the savage French troops. This formal analysis will examine the important technique used by Goya to organize societies depiction of the visual information. Within this work I will concentrate on these elements of color, texture, shape, lines, space, and the value to bring about my own opinion of Goya’s work. Using this strategy applied to The 3rd of May, 1808 work I hope to demonstrate a comprehension how to translate what I see into written words.
I was captivated by the art piece created by Francisco de Goya y Lucientes in 1810-
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
Tatiane Fazzio HUM 205 Midterm Paper Spring’17 PRACTICING THE CRITICAL METHOD About the artwork: Oscar Moya, Blue Collar, 2000 – Acrylic on Canvas (Picture attached at the end) Description: Blue Collar, by Oscar Moya, is such a strong and impacting artwork! Oscar Moya used bright intense primary warm colors on the background in contrast with the dark blue on the foreground, giving a profundity to the painting, bringing your eyes straight to the center, where Jose is situated. Jose, the worker on the picture seems to be the center of our attention. The lines used on this artwork are mixed, so we can see edge lines, lines of sight, implied lines, and curved lines.
Cullen, Alison. “From the Trivial to the True: The French Revolution and Painting”. Kirsch Computing ECFS. Web. 5th May 2013.
The juxtaposition of the chaotic conquest with the image of the city during the time imparts to the viewer that destroying the indigenous society was necessary in order to achieve civilization. During the time that this piece was created, Terraciano states that Spanish artists adopted an elitist mentality because their images extolled the horrific actions of the colonizers during the conquest (Terraciano, 76). By creating celebratory images of the conquest, they intended for a viewer during the time to develop an appreciation for the chaos that occurred during the time. Even though the events they painted are
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...
In contrast, Gogol’s portrayal of the artist conveys a sort of ethereal idealism and purity which transcends the material realm. Therefore, the conception of the “Petersburg artist” illustrates a conflict of principles. Gogol presents a distinct contrast between the righteous integrity of the artist and the consumerist aspects of St. Petersburg, along with its underlying evils. In this way, Gogol suggests that the city of St. Petersburg is unfit for the naïve and idealistic artist, insofar as it offers seemingly-innocent beauty and indulgence, but conceals sinful “traps” which threaten the integrity of the