Goya's Revolutionary Work
Goya’s work expresses more vividly and plainly about the revolution that occurred in the art industry during the three decades, as a result of the political mayhem of the year 1789 (Crow & Thomas, 78). Goya was undeniably a classic artist whose success, distressed life and the art exposes both the dizzying freedoms and virulent coerciveness that resulted due to the enlightenment and revolution. He could combine the superb finely colors of the paint that had the most robust mental visualization into the character of the rest. Goya ushered in the era of Romanticism after the differing demands of supporters arose due to the invasion by the French, civil war, armed coups and the closure of the secure separations between the community art and the secluded desire (Crow & Thomas, 79).
Goya's Naked and Dressed Majas
Goya’s Naked and dressed Majas conveyed more than the general noble and manipulative idea of the working class sexuality as a sort of freak. The Naked of Maja was perceived to celebrate the pervasion of its moral autonomy, thus marking the refined discernment of the Majism (Smith & Bernard, 6). Although Maja’s model of painting is unknown, her face possessed exclusivity as characterized by her body’s normality. The most important key feature of the picture’s irony lies in the inability of the head and the body to fit appropriately, as illustrated by the indefinite treatment of the neckline, shoulders and even the hair. Additionally, she is regarded as an expression of perfect vulgar metonymy that replaces an organ for a human being since her pubic region is positioned directly in the heart of the painting (Smith & Bernard, 6). Later most leaders approved Goya’s work perceiving that the exclusive combination of physical and psychological visualization conveyed the displeasure of the contemporary life and the sexual exchange. Most people took Goya’s work as an exercise of pornography. However, it should be noted that Goya conceived those paintings at the time he was ridiculing Godoy and the invasion of French to Spain in general (Smith & Bernard, 6). His clear intention is not known since there are no old documentaries of the same. However, the Naked Maja evidenced that Goya was divided in his defiance towards patriotism and rationalism.
Courtyard with Lunatics
Also, Courtyard with Lunatics is one of Goya’s arts that made a philosophical change in his paintings. With his dark, theatrical and frightening crafts, Goya had discovered a means of creating the graphic equivalence of his dreams (Tomlison & Janis, 195). These means were a discovery of the various implications of styles, and at the same time, the weird strength of portraits and the influence of the broken line. The courtyards were meant to offer an imaginative and perturbing vision of isolation and fear provoked by psychological illness and social separation. The foreground of the yard had been sealed off by the massive brickwork blocks, and the iron gate at the back had a single warden seat (Tomlison & Janis, 197). The portrait had faded at the top owing to the direct impact of the sun, thus resulting in a horrific and dreadful scene. In this art, it is evident that Goya was trying to pass the visual message about the castigatory treatment irrationality. Goya was particularly displeased by the fact that the insane were usually kept indoors in a company of criminals, and that the sick were typically forced to reside with the destitute in the vast storerooms. Additionally, at that time inmates used to go without treatment regardless of the intensity of the sickness. Thus, Goya’s art was a visual representation of both economic and political issues that arose at that time (Tomlison & Janis, 195). The condemnation of brutality towards the inmates by the French officials was a significant point of concern to Goya, and thus his painting, Courtyard With Lunatics, was only but a depiction of dissatisfaction with the type of treatments the inmates used to receive from them.
Goya's Prado: A Series of Portrayals
Similarly, Goya’s Prado holds a series of nine portrayals that portrays the vision seen in the nocturnal dream. He numbered them in order, the first being the burlesque vision, then the second and the third is the same night of ugly looking lass whose face resembles that of a cat (Tomlison & Janis, 199). Apparently, this was a substitution by a soldier with a tiny but enormous head. Goya went ahead and explained that the ease with which women agreed to marry was on the rise due to the believes that they will get freedom afterward. Thus, in his sketch, it can be seen that a comely young woman is wearing two masks, a domino mask in front, and the other ugly one at the front. Goya was motivated to draw the same portrays by the limited freedoms that the unmarried Spanish women had following the invasion by the French.
The Lasting Visual Message
In essence, it is evident that the works of arts can be used to pass along a lasting visual message from one generation to the other, without possible alteration. Goya’s paintings, which are still present up to now, played a significant role in passing a message across the Spanish region at the time of its conception. Goya was particularly forced to conceive arts in response to the prevailing circumstances that the Spanish used to undergo following the invasion of France (Tomlison & Janis, 196). However, the work of art may not be understood easily by anyone. The message it contains is usually encrypted in such a way that not everyone can decode.
References
Crow, Thomas. "The Tensions of Enlightenment: Goya." Nineteenth Century Art: A Critical History, 1994, pp. 78-97. Retrieved from https://msu.edu/course/ha/445/crowgoya.pdf
Smith, Bernard. "Goya." 1963, pp. 2-11. https://digitisedcollections.unimelb.edu.au/bitstream/handle/11343/56283/BSmith-Goya.pdf
Tomlinson, Janis. "Evolving Concepts: Spain, Painting, and Authentic Goyas in Nineteenth-Century France." Metropolitan Museum Journal 31, 1996, pp. 189-202. https://www.metmuseum.org/pubs/journals/1/pdf/1512981.pdf.bannered.pdf
