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Essay / Research Paper Abstract
A 5 page research paper that examines Goya's "The Shootings of May Third, 1808" within the context of the era in which it was created. This examination of this painting places it within the context of its era and the dramatic social and political events that were taking place in Goya's Spain. Bibliography lists 5 sources.
Page Count:
5 pages (~225 words per page)
File: D0_khgoya.rtf
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Unformatted sample text from the term paper:
Goya came from the north of Spain, rather than the south. He is known as the most outstanding Spanish artists of this day. Francisco Jose de Goya y Lucientes (1746-1826)
created a huge body of painting: roughly 500 oil paintings; 280 etchings and lithographs and nearly a thousand drawings.ii His work spans a bewildering array of contrasts and shows a
startling "metamorphoses from the frivolous elegance of the 18th century" towards a "daring anticipation of Impressionism and Expressionism."iii However, while there is extreme diversity in Goyas work, the underlying common
factor is Goyas attention to the human condition, which is evident in his most dramatic work, "The Shootings of May Third, 1808." The following examination of this painting places it
within the context of its era and the dramatic social and political events that were taking place in Goyas Spain. The period in which Goya painted his masterpieces was a
turbulent one for Spain, as it was marked by "despotic regimes, war, revolution, economic depression, rampant crime, foreign occupation and the Inquisition.iv Goya recorded all this with an uncompromising vision.
In the late eighteenth century, Spanish society was divided between those who promoted a traditional take on society that supported autocratic monarchs and the authority of the church and those
people who were followers of the European Enlightenment who supported the idea of a more "liberal, constitutional government."v Goyas patrons transversed this political spectrum.vi Despite his often brutal honesty and
use of visual satire, as well as his publicly stated opinion that there were "no rules in painting," Goya generated virtually universal high regard.vii He was appointed to positions in
Spains most outstanding institutions, and in 1786, Charles III named Goya as "Painter to the King."viii This popularity is particularly surprising considering political orientation. Goya was not simply a rebel
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