Contenidos
Cuadro dos de mayo
Three of may
Descubrir el Arte joins the celebration of the festival of the Community of Madrid with a study of the series Desastres de la guerra (Disasters of War) and a detailed analysis of two iconic paintings: The Fight with the Mamelukes and The Firing Squads by the Aragonese painter. Text by Nigel Glendinning
Goya endows this series with a new socio-political perspective, which can be summarized in how the united society, which achieved its first successes in the War of Independence, loses its cohesion. Faced with famine, the wealthy, partly loyal to the intruding king, refuse to help the needy, and divisions increase. Criticism is expressed above all in the scenes in which the bourgeois do not even look at those who reach out and beg for help.
And if traditionally in this genre the great characters and the best known heroes were highlighted, Goya, on the other hand, does not put Daoíz or Velarde in his paintings, but opts for themes that allow him to highlight the diversity of the people who united to reject the invaders and whose actions could lead to death.
The executions of may 3 analysis
Against a background of slanted perspective, there is an accumulation of figures in the foreground, in rapid movement, with violent foreshortenings. Rather than exalting heroism, as Valeriano Bozal has pointed out, Goya is interested in capturing human drama and pathos. There are several differences between this sketch and the final painting. Beginning on the left, the French soldier lying dead on the ground has his head facing down, not up, in the sketch.
The countryman who harasses the horse with a knife has a different position in the definitive painting and only half of the figure is visible, which leads us to think that the Prado painting may have been cut off at the left end. This figure has obvious similarities with the peasant who pulls the chuzo from the corpse of a French soldier in the preparatory drawing (Prado) of Desastre 27 entitled Caridad, and in that engraving, and with the man who in both preparatory drawings (Prado) and Desastre 28, Populacho, tries to skewer the corpse of a Frenchman by inserting a wedge through his rectum.
Pintura el dos de mayo
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El 2 de mayo de 1808, de Goya, también conocido como La carga de los mamelucos (en español: El 2 de mayo de 1808 en Madrid, o La lucha con los mamelucos o La carga de los mamelucos[1]), es un cuadro del pintor español Francisco Goya. Es un complemento del cuadro El 3 de mayo de 1808 y está ambientado en la calle de Alcalá, cerca de la Puerta del Sol de Madrid, durante el levantamiento del Dos de Mayo. Representa una de las muchas rebeliones populares contra la ocupación francesa de España que desencadenó la Guerra Peninsular.
Goya fue testigo directo de la ocupación francesa de España en 1808, cuando Napoleón utilizó el pretexto de reforzar su ejército en Portugal para hacerse con el trono español, dejando a su hermano José en el poder. Los intentos de desalojar a los miembros de la familia real española de Madrid provocaron una rebelión generalizada. Este levantamiento popular se produjo entre el 2 y el 3 de mayo de 1808, cuando fue reprimido por las fuerzas al mando del mariscal Joachim Murat.
The second of may 1808 painting analysis
The work is completed with the painting The Second of May 1808 in Madrid or The Fight with the Mamelukes. The following is a brief historical account and analysis of the painting, which will give an account of its significance.
Analysis of the paintingThe executions of May 3rd are the events that Goya portrays as dramatically as possible in the present canvas. Everything indicates that this canvas, like its peer, was commissioned by the liberal regency of Luis María de Borbón y Vallabriga, who was preparing to receive King Ferdinand VII.
Their uniforms, in shades of brown and gray, have a Cezannesque treatment. The painter has suppressed volume and chiaroscuro, and has opted for thick strokes that form flat masses of color. Thus painted, the soldiers look like a wall of death, closed, impenetrable, flat and gray.
The victimsDetail of the victims.Compositionally, the condemned to death have neither order nor line, chaos dominates the section. The characters do not possess attributes of war such as weapons or uniforms. A clear inequality between the sides is evident.
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