Goya’s Artistic Evolution: From War to Black Paintings
Phase III (1808-1814): The War of Independence
Phase III (1808-1814) coincides with the Spanish War of Independence. Napoleon, through Godoy, sought passage through Spain to Portugal to enforce a blockade against England. However, Godoy realized Napoleon’s true intentions. This led to the Mutiny of Aranjuez, Charles IV’s abdication in favor of his son Ferdinand VII, and Ferdinand’s subsequent appeal to Bonaparte. This period also saw the creation of the 1812 Constitution, known as “La Pepa.”
Goya’s work in this phase reflects a heightened sense of national sentiment and romanticism. He used composition, color, and light to evoke Baroque theatricality and sensationalism, depicting scenes of both real and symbolic exaltation of the Spanish people.
“The Executions of Moncloa” or “The Third of May 1808” (1814) exemplifies this phase. This painting, filled with great realism, depicts the execution of Spanish citizens by the French army. Goya employs long, fluid brushstrokes and dramatic lighting to create a powerful and emotional scene.
- Composition and Light: The composition and light focus attention on the central figure in a white shirt, who is about to be shot. He is depicted as a martyr, reminiscent of Ribera’s “Martyrdom of St. Bartholomew.”
- Contrasting Groups: The French soldiers are portrayed as a unified, faceless killing machine, contrasting sharply with the individualized expressions of fear and despair among the condemned. This arrangement is similar to the “Oath of the Horatii” in its use of a row formation.
- Symbolism: The stark contrast between light and darkness, the individual and the mass, and the use of the white shirt as a symbol of freedom, all contribute to the painting’s powerful message.
- Technique: Goya uses thick impasto brushstrokes, without a defined drawing, creating a sense of immediacy and raw emotion. The light focuses violently on the white shirt.
- Historical Significance: This painting serves as a historical record, akin to a newspaper report, as there were no photographs at the time.
Phase IV (1814-1824): Absolutism and the Black Paintings
Phase IV (1814-1824) encompasses the absolutist restoration under Ferdinand VII, following the Manifesto of the Persians, and the failure of the Liberal Triennium. The period includes the suppression of the 1820 uprising led by Riego.
During this time, Goya’s health deteriorated, and his pessimism grew, fueled by the return of absolutism. This period is marked by his creation of the “Black Paintings.” These works, originally painted as murals on the walls of his house near the Manzanares River, were later transferred to canvas. They are characterized by their dark, somber colors (blacks, browns, and earth tones) and disturbing imagery.
The “Black Paintings” are filled with strange, dreamlike figures that evoke a sense of unease and discomfort. Goya’s technique became aggressive and revolutionary, reflecting the darkness of Spain and the darkness within the human psyche. He is considered a forerunner of both Surrealism and Impressionism, and the first truly contemporary painter.
“The Coven” or “The Great He-Goat” is a critique of deception and irrationality. It depicts a Sabbath scene where witches gather under the command of a large black goat, seeking his advice. The scene is elongated, with a sense of elliptical motion. Goya uses the characteristic colors of the “Black Paintings,” and the faces are highly expressionistic. The opaque or dark backgrounds offer little sense of space, drawing the viewer’s attention to the figures. The composition plays with diagonals.
“The Milkmaid of Bordeaux” (although it is suggested it may be the work of his disciple) shows an impressionistic technique, with a focus on light and color. The brushstrokes are similar to his other works, but smaller and lighter, foreshadowing Impressionism of 1822. The oil paint creates a luminous effect, particularly around the girl’s slightly bent head, transforming the sky into a bright expanse. The painting is primarily about light and color, created from behind the table. The composition is triangular, returning to a very classical concept.