Portrait of King Ferdinand VII of Spain (1814)

Title: Portrait of Ferdinand VII
Artist: Francisco Goya
Date: 1814-1815

Brought by the Museo del Prado, Ferdinand VII in Court Dress by Francisco Goya (1814-1815) shows King Ferdinand VII shortly after he had taken the throne. Goya was able to masterly capture the King's regal attire and showcase him as a powerful monarch. King Ferdinand VII's expression is almost distrustful as if he is wary of how Goya is actually painting him on the canvas while he poses9. Goya however could have painted the King with a distrustful face to symbolize how the King must have felt after having taken the throne. In 1815, King Ferdinand VII abolished the constitution and became and absolutist king. Goya may have been well aware of how tightly the King wanted to hold on to power, and almost like a premonition, knew he was distrustful on his subjects. The King would later start ruling with an iron fist. He would try to imprison or kill any liberal in Spain, and at one time this included Goya as a target. The King, being fearful of losing his power, treated the subjects so poorly that many left in exile. King Ferdinand VII became a tyrant king that was loved by very few. Later his people had revolted against him in reaction to his abuse of power. 

Source :
http://span2322finalproject.weebly.com/featured-art.html

The Third of May 1808

Title: El 3 de mayo de 1808 en Madrid (The Third of May 1808 in Madrid)
Artist: Francisco Goya
Date: 1814

The Third of May 1808 (also known as El tres de mayo de 1808 en Madrid or Los fusilamientos de la montaña del Príncipe Pío, or Los fusilamientos del tres de mayo) is a painting completed in 1814 by the Spanish painter Francisco Goya, now in the Museo del Prado, Madrid. In the work, Goya sought to commemorate Spanish resistance to Napoleon's armies during the occupation of 1808 in the Peninsular War. Along with its companion piece of the same size, The Second of May 1808 (or The Charge of the Mamelukes), it was commissioned by the provisional government of Spain at Goya's suggestion. The painting's content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, The Third of May 1808 marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian Kenneth Clark, The Third of May 1808 is "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention". The Third of May 1808 has inspired a number of other major paintings, including a series by Édouard Manet, and Pablo Picasso's Massacre in Korea and Guernica. 

The Third of May 1808 is set in the early hours of the morning following the uprising and centers on two masses of men: one a rigidly poised firing squad, the other a disorganized group of captives held at gun point. Executioners and victims face each other abruptly across a narrow space; according to Kenneth Clark, "by a stroke of genius has contrasted the fierce repetition of the soldiers' attitudes and the steely line of their rifles, with the crumbling irregularity of their target." A square lantern situated on the ground between the two groups throws a dramatic light on the scene. The brightest illumination falls on the huddled victims to the left, whose numbers include a monk or friar in prayer. To the immediate right and at the center of the canvas, other condemned figures stand next in line to be shot. The central figure is the brilliantly lit man kneeling amid the bloodied corpses of those already executed, his arms flung wide in either appeal or defiance. His yellow and white clothing repeats the colors of the lantern. His plain white shirt and sun-burnt face show he is a simple laborer.

On the right side stands the firing squad, engulfed in shadow and painted as a monolithic unit. Seen nearly from behind, their bayonets and their shako headgear form a relentless and immutable column. Most of the faces of the figures cannot be seen, but the face of the man to the right of the main victim, peeping fearfully towards the soldiers, acts as a repoussoir at the back of the central group. Without distracting from the intensity of the foreground drama, a townscape with a steeple looms in the nocturnal distance, probably including the barracks used by the French. In the background between the hillside and the shakos is a crowd with torches: perhaps onlookers, perhaps more soldiers or victims.

The Second and Third of May 1808 are thought to have been intended as parts of a larger series. Written commentary and circumstantial evidence suggest that Goya painted four large canvases memorializing the rebellion of May 1808. In his memoirs of the Royal Academy in 1867, José Caveda wrote of four paintings by Goya of the second of May, and Cristóbal Ferriz—an artist and a collector of Goya—mentioned two other paintings on the theme: a revolt at the royal palace and a defense of artillery barracks. Contemporary prints stand as precedents for such a series. The disappearance of two paintings may indicate official displeasure with the depiction of popular insurrection.

Source :
https://en.wikipedia.org/wiki/The_Third_of_May_1808

The Second of May 1808 (The Charge of the Mamelukes)

Title: El 2 de mayo de 1808 en Madrid (The Second of May 1808 in Madrid)
Artist: Francisco Goya
Date: 1814

After Spanish Prime Minister Manuel Godoy allowed the French Invasion of Spain, the Spanish people revolted against the French on the second of May in 1808. On display from the Museo del Prado, Francisco Goya depicts the Spanish uprising in his Second of May, 1808 (1814). The scene is very chaotic, depicting what the uprising must have been like when the unarmed and untrained Spanish people started attacking the Turkish soldiers of the French army. The scene is very bleak however the Turkish soldiers have looks of surprise and bewilderment. The Spanish people have looks of determination and outrage that the French have come into Spain. The Turkish soldiers serve as a familiar scene of Spanish Christians fighting against Muslims. The Turkish soldiers evokes feelings of hatred and distrust which were common emotions Spanish people felt about Muslims as well as any other invaders to Spanish territory. Because of Godoy as well as the monarchs of Spain allowing the French Invasion it was up to the Spanish people to rise in power to try to overthrow their invaders. Unfortunately they were unsuccessful and the War of Independence would last for four years. Due to lack of judgement as well as the misuse of political power, the most powerful people in Spain had drag its country and its people through many hardships.

Source :
http://span2322finalproject.weebly.com/featured-art.html

Portrait of Manuel Godoy, Duke of Alcudia, 'Prince of the Peace'

Title: Portrait of Manuel Godoy, Duke of Alcudia, 'Prince of the Peace'
Artist: Francisco Goya
Date: 1801

Francisco Goya's portrait of Manuel Godoy is brought from the Museo del Prado. The portrait, Manuel Godoy, Duke of Alcudia (1801), is a depiction of Manuel Godoy sitting outside with what appears to be his military regiment. Manuel Godoy was an important figure in Spain at the time. He had served as the prime minister however he had led Spain to many disasters, including the French Invasion of 1808. Godoy sits with an air of dignity and power, even though Godoy was not popular with the Spanish people. The military regiment behind Godoy highlights Godoy's power and authority. However, this portrait is not traditional of portraits of military leaders and nobility. Godoy is in a really relaxed position, with an almost smug expression on his face. The background is dark and bleak, possibly highlighting the disasters Godoy had brought to Spain. The air around Godoy looks as though there is smoke from cannon fire which could possibly mean that a battle had just taken place. If that were so it is interesting to see that Godoy is sitting down instead of leading his army. Unfortunately, the Spanish monarchy has trust Godoy too greatly and gave him too much power which he abused. The love of power and also Godoy's greed is what led to the French Invasion of 1808. Godoy had not cared what was best for the people of Spain and therefore was force to live in exile after the French Invasion. 

Source :
http://span2322finalproject.weebly.com/featured-art.html

The Capitulation of Breda

Title: La rendición de Breda (The Surrender of Breda)
Artist: Diego Velázquez
Date: 1634-1635

On display from the Museo del Prado is Diego Velazquez's The Surrender of Breda (1634-1635). Velazquez, under commission for King Philip IV, commemorates the capture of Breda during the Eighty Years' War. Depicted is the Spanish general Spinola takes the keys to the city from the defeated Dutch general. Velazquez paints the Dutch general as bowing to Spinola, which highlights the victory of Spain. However many art historians believe that the Dutch do not look as though they have been painfully defeated. The Dutch are depicted as looking more well rested and healthy than the Spanish soldiers. The Dutch general may even wear a condescending expression as he may know one day the Dutch will take back the city of Breda, which was recaptured in 1637. Velazquez paid certain attention to the Spanish lances as he later went back and made the lances much taller than the Dutch's lances, which is why the Surrender of Breda is also known as The Lances. On the left, the Spanish army is depicted with longer and straighter lances which is to highlight the greater power and strength of the Spanish army. Even though the lances are a symbol for Spain's military prowess, the cordiality between Spinola and the Dutch general is meant to paint Spain in a good light. The Surrender of Breda shows Spain as capable of respect and forgiveness of those of whom they have defeated. Once again, Spain's military power has allowed Spain to capture new lands and rule over new people. However, sometimes Spain's power was not always enough. As the Dutch took back the city of Breda in 1637, the Spanish effort during the Eighty Years' War was wasted. In order to gain more power throughout Europe, occasionally Spain made wrong decisions that led to their own defeat. 

Source :

http://span2322finalproject.weebly.com/featured-art.html

The Capitulation of Granada

Title: La Rendición de Granada (The Surrender of Granada)
Artist: Francisco Pradilla Ortiz
Date: 1882

The Capitulation of Granada by Francisco Pradilla Ortiz (1882) from the Museo del Prado, depicts the Sultan Mohammed XII surrendering the city of Granada to King Ferdinand and Queen Isabella in 1492. Granada had been the last outpost of Moorish control in Spain. The surrender of Granada meant the end to an 800 year presence of Muslims in Spain  (bonhams). Hungry for power, King Ferdinand and Queen Isabell sought to rid Spain of all Muslims in order to create a unified Spain. Spain, after having captured Granada was now unified and could focus on its goal of creating a large empire. King Ferdinand and Queen Isabella believed Spain could be the next greatest world power and used their military strength and wealth to gain power over many peoples. The eradication of Muslims in Spain was a precursor to how the Spanish would treat the indigenous peoples of the Americas. The King and Queen are shown on their horses as they sit tall and proud after having won Granada back from the Moors. Only the Muslim leader, Sultan Mohammed XII sits atop a horse next to his counsel. The Spanish are depicted as having large numbers whereas the Sultan and his counsel are depicted in small numbers. This could have been purposefully done by the artist in order to highlight the strength and grandeur which Spain had at the time. Throughout Spanish history, Spanish Christians had warred with the Muslims that had settled in Spain. By depicting the Moors in small numbers it further highlights their lack of military skill and incompetency. 

Source :
http://span2322finalproject.weebly.com/featured-art.html

Rocroi, the Last Tercio

Title: Rocroi, el último tercio (Rocroi, the last tercio)
Artist: Augusto Ferrer-Dalmau
Date: 2011

Rocroi, The Last Tercio (2011) by the contemporary artists Augusto Ferrer-Dalmau is on display from the Thyssen-Bornemisza Museum. Rocroi, The Last Tercio depicts the defeat of the Spanish army in the Battle of Rocroi against the French. The Battle of Rocroi occurred near the end of the Thirty Years' War and is an important battle in world history. The French defeat of the Spanish army marks the end to a century and a half of battles won by the Spanish army7.  Interestingly however, unlike in The Surrender of Breda by Velazquez, Ferrer-Dalmau only paints the Spanish army. The last tercio, or the last third of the Spanish army stands together proud and defiant as they await the French artillery. Even though Spain suffered a massive loss, within the painting, Spain can be seen as still having dignity. By only showing the bravery of the Spanish army and not the victorious French army, makes the viewer almost believe that Spain had won the Battle of Rocroi. The attention to detail as well as the long lances is very similar to Velazquez's representation of the surrender of the city of Breda. After waging wars and other military campaigns for around 150 years, Spain had finally abused their power and spread themselves too thin. Once the French had defeated the Spanish army, Spain would no longer live in a Golden Age.

Source :
http://span2322finalproject.weebly.com/featured-art.html