|Goya dedicated a great part of his artistic output to a pictorial description of the society in which he lived
The worst is to beg(Desastres de la Guerra)
|Unlike Renaissance painters, who admired and painted subjects from Classical Antiquity and the Christian tradition, Goya dedicated a great part of his artistic output to a pictorial description of the society in which he lived.
However, Goya did not limit himself to figurative painting as a way of simply photographing reality. His vision of the world was partisan, he had well-developed ideals, and as an artist he was in a state of constant evolution.
His critical vision was clearly and effectively shown in his prints and drawings. In these works he avoided the use of colour. By doing so they became an ideal medium for giving a simple, vibrant vision of reality. They also allowed the artist to create a darker, caricatured view of life.
By studying his prints and some of his oil paintings the following points about the painter's social, religious and political ideals emerge:
In terms of his bourgeois background and level of culture, Goya was a Spaniard of the Enlightenment and a moderate liberal. His ideals and beliefs moved in tune with the history of his country. However, his social and political works transcended his political beliefs. In his work, Goya, a sharp-eyed caricaturist, shows the contradictions of Spain at the end of the 18th century and the beginnings of the 19th. It is also clear from his work that Goya was an extraordinarily clear-sighted individual who, with an enviable intellectual grandeur, was able to juxtapose the greatness and the vileness of human nature.
Alcalá Flecha, Roberto. Literatura e ideología en el arte de Goya. Zaragoza: Diputación General de Aragón, 1988.
Francisco Javier García Marco
|InfoGoya 96 is an initiative of the University of Zaragoza, sponsored by the Institution Fernando el Católico of the Deputation of Zaragoza on an Apple Internet Server donated by Apple Computer.|