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Notes

This image shows the random executions of the Spanish citizenry resulted from the fighting in the Puerto del Sol area of Madrid (Also see the Goya painting Second of May). A national uprising in Spain followed, and scenes such as Goyas Third of May were repeated throughout the Spanish countryside, as the French commanders failed to quell the national mood, and instead made it more furious.

Goya had previously admired the practical freedoms the French enlightenment had promised. Most of the Spanish intellectuals of Goyas time were weary of the faltering efforts of Charles IV and Ferdinand to bring reform and improvement to Spain. However, the brutality of Napolean (through his brother Joseph & the military commanders instructed to minimize the fighting there) suspended whatever affection the Spanish liberals had for French freedoms.

For the length of the six-year occupation by the French, Goya lived almost entirely in Madrid. There is much speculation in art books about whether Goya personally witnessed events such as The Second of May, and The Third of May. It is evident that Goya owned property at La Quinta, where the massacres took place, and there is (though disputed by some historians) a story by one of Goyas gardeners, a man named Isidro, who told Antonio Trueba (recorded in his book Madrid por fuera) that Goya witnessed the shootings at Montana del Principe Pio via telescope (a telescope was inventoried as belonging to Goya after his death), and that Isidro accompanied Goya later that night to the place where the corpses were, at which time Goya made notes. This account is referenced in Xavier de Salas book GOYA, published 178 by Mayflower books.






...the Third of May, has become even more famous, haunting the covers of history books, appearing on postage stamps and postcards. It has been used to epitomize the art of Goya, as well as the spirit of Spanish revolutionary heroism. This violent yet moving image depicts the public execution of insurgents on May 1808, the day following the insurrection [see Goyas Second of May] In contrast to the vigour of the street battle, in which the Spaniards appear, momentarily, to be gaining the upper hand, this massacre of civilians, which the French carried out in reprisal for the insurrection, has been painted in the most eye-catching colours. Here, in glowing whites, golds and scarlets against the sombre blacks, greys and browns of the background, the doomed men are immortalized, the street fighters from the Second of May meet their fate. One or two are recognizable the corpse sprawled below the living victims, a prone male figure with matted blood-soaked hair and shattered skull, is identifiable as the hero with the dagger, stabbing the horse in the right-hand foreground of the proceeding picture.

From Sarah Symmons book, Goya,

Phiadon Press, 18. Page 6.



Most of the victims have faces. The killers do not. This is one of the most often-noted aspects of the Third of May, and rightly so with this painting, the modern image of war as anonymous killing is born, and a long tradition of killing as ennobled spectacle comes to its overdue end.

From Robert Hughes book, Goya,

Knopf Books, 00. Page 17.

No other artist in Western civilization can equal Goya in lyricism or power. He just may be the most courageous painter of all time. This painting condemns organized brutality in a way that stands alone in excellence. This scene of slaughter captures every detail of a group of gleeful hateful men destroying their fellow men. Nothing else in all of art equals the violence, the black terror of the moment, with those guns pointed at the group of unarmed victims. This is a difficult painting to look at for extended periods of time and may even cause nightmares.

The Shootings of the Third of May, 1808 (1814) by Spanish painter Francisco Goya (Prado, Madrid). When Napoleon occupied Spain, Goyas bitter disillusionment with the French Revolution was reflected in such dramatic works as this, which commemorates the execution of a group of Madrid citizens. (Image � Art Archive)

Spanish painter and engraver. One of the major figures of European art, Goya depicted all aspects of Spanish life portraits, including those of the royal family, religious works, scenes of war and of everyday life. Towards the end of his life, he created strange, nightmarish works, the Black Paintings, with such horrific images as Saturn Devouring One of His Sons (c. 18 Prado, Madrid). His series of etchings include The Disasters of War (181014), depicting the horrors of the French invasion of Spain.

Goya was born in Aragn. After studying in Italy, he returned to Spain and was employed on a number of paintings for the royal tapestry factory as well as numerous portraits. In 178 he was appointed court painter to Charles IV. The eroticism of his Naked Maja and Clothed Maja (c. 180005 Prado, Madrid) caused such outrage that he was questioned by the Inquisition. The Shootings of May rd 1808 (1814 Prado, Madrid), painted for Ferdinand VII, is passionate in its condemnation of the inhumanity of war. Technically, Goya attained brilliant effects by thin painting over a red earth ground. Much influenced by Rembrandt (Rembrandt, Velzquez, and Nature were, he said, his guides), he turned in later years to a dusky near-monochrome. His skill, however, seemed to increase with age, and the Milkmaid of Bordeaux, one of his last paintings, shows him using colour with great freedom.

I specifically like this painting, May Third, because of its realism and its portrayal of how evil our human race really is. The background is solemn and does not attract attention to itself- besides giving a setting to the place of the event. The background is drab and dark and lets you focus on the main focal point, which is the actual shooting. I like the use of color to highlight the main occurrence and the shapes of the bodies either dead or alive. The color can make is so realistic that you feel like you were there. The texture of the cold skin on the dead contrasts with the supple skin on the bodies of the living.

There is a balance between life, death, and the portrayal of more death to come. The emphasis is not placed on the main event of the shooting and the dead bodies and blood, but more on the emotions of the people who see their fate and lives clearly flashing before their eyes. Your eyes follow the movement in the painting from the faceless soldiers to the face of the man in the shape of the Christ and clothed in white- and about to die. I like the contrast of the white shirt on the rebel to the dark background and drab clothing of the soldiers and the men around them. Even the blood has been dulled to draw focus to the man in the white shirt, awaiting his fate in fear.





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