Francisco Goya: A Visionary Painter in a Changing Spain
Francisco Goya’s style is difficult to classify because his life was full of social change. He painted many kings, ministers, and thinkers. With the return to absolutism under Ferdinand VII, he went to Bordeaux in 1823. A painter far ahead of his time, Goya had the misfortune of living in an antiquated Spain. He was a contemporary of neoclassical authors, but his painting cannot be identified with the neoclassical style of David. He did not adhere to any specific movement because he painted reality. He painted neo-folk subjects, nobility, and was a court painter. His work can be classified into five stages:
1st Stage: Baroque, Rococo, and Neoclassical (1771-1780)
This was Goya’s formative period. In Zaragoza, he studied with his teacher, José Luzán. Highlights from this period include Hannibal Crossing the Alps, made for submission to a contest, and The Holy Family (with Baroque influence). Another highly appreciated work from this time is The Sunflower, known for its texture. During this stage, he also painted The Brawl at the New Tavern. In 1775, Goya moved to Madrid and became a pupil of Francisco Bayeu. He was instructed to create tapestry cartoons to decorate the walls of the royal family’s residence, which was very cold and damp.
2nd Stage: The Stage of Fullness (1780-1820)
The Academy and the aristocracy recognized Goya’s talent during this period. In 1800, he painted The Family of Charles IV. Goya painted people as he interpreted them. King Charles IV was a dear figure, and Goya portrayed him in a loving way. He also painted his niece well. Another notable work is The Family of the Duke of Osuna, transmitting the enlightened values of the bourgeoisie and the protection of the family. In this painting, the children have toys, identifying them as children. Goya also painted The Third of May 1808 in 1814. He did not witness this event, so the landscape is imagined. If the characters were removed, it would resemble an abstract painting. This painting marks the past, present, and future. The faces are very expressive, and the faces of the executioners are not represented, conveying that they are killing machines. The spotlight is provided by the lamp. It is a shocking work.
3rd Stage: The Black Paintings (1820-1823)
During this stage, Goya painted the Black Paintings in his home, “La Quinta del Sordo.” These works are a metaphor for what was happening in Spain. He painted Fight with Cudgels, representing the two opposing sides in Spain. He also painted The Dog, Two Old Men Eating Soup, and Witches’ Sabbath.
4th Stage: Bordeaux (1823-1828)
This is Goya’s final stage. He passed away in Bordeaux. The painter used light brushstrokes to give consistency to his work. He painted his last piece, The Milkmaid of Bordeaux.
Interpretation of The Family of Charles IV
The Family of Charles IV was a commissioned work by the king, who wanted to be portrayed with his family in court. There are various interpretations of this painting. Since the 19th century, the French critic Théophile Gautier interpreted it as a satirical portrait, a view that has been corroborated by many. However, it was not perceived this way at the time. The queen was very pleased with the portrait. There are several possible meanings:
- An idealization of the royal family, especially when compared with other paintings from the same period that frequently depicted them in a less favorable light.
- A reflection of the family’s status without flattery. Perhaps the family did not want a portrait that exalted the monarchy but rather highlighted the nature of the family group, with affectionate gestures between siblings and parents.
- Others, such as Tomlinson, suggest that Goya painted the royal family in all its splendor, thus linking the tradition of the Habsburgs (Velázquez) at a time when the Bourbon monarchy was discouraged.
It can be concluded that, at present, the interpretation of the work is not one of criticism or satire. Surely, Goya was faithful to his models and subtly captured the psychology of the characters, treating them as mere mortals and disregarding social considerations. The children are treated with the most affectionate gaze. Goya seems to participate as an observer. Therefore, this work is important for its realism and psychological penetration of the characters. It becomes a portrait of Spanish politics at the time, opening up new fields.