Saturne: Peintures noires des hommes de la famille goya

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Because of his political leanings, Goya was a marked man. Ferdinand VII thought Goya had collaborated with Napoleon. Ferdinand warned “Goya, not only do you deserve the death, but the Gallows! If I forgive you, it’s because I admire you.” Construction of the second floor, Junquero argued, didn’t occur until after Goya’s death. Quintana, he maintains, was a simple country home, not a manor house, and couldn’t have housed the 14 massive paintings.

Le tableau apparaît brièvement dans les films King Lear de Jean-Luc Godard et La Reine des damnés de Michael Rymer. Le cinéaste Pierre Falardeau le cite dans Elvis Graton II. Le tableau apparaît également dans plusieurs plans de l'épisode 22 de la série d'animation japonaise Fushigi no umi no Nadia ( Nadia, le secret de l'eau bleue en version française). Held, Jutta, Farbe und licht in Goyas malerei, Walter de Gruyter & Co., Berlín, 1964, pp. 34-35; 177, n. 164. Murillo: Adoration of the Shepherds (1650) – Aranjuez Immaculate Conception – The Christ Child and the Infant John the Baptist with a Shell – Christ on the Cross (1675, 1677) – The Conversion of Saint Paul – The Good Shepherd – The Holy Family with a Little Bird – The Immaculate Conception of El Escorial – The Immaculate Conception of Los Venerables – The Martyrdom of Saint Andrew – Our Lady of the Rosary – The Patrician's Dream – Rebecca and EleazarJunquera y Mato, J. J., Los Goya: de la Quinta a Burdeos y vuelta, Archivo español de arte, 76/304, 2003, pp. 353-370.

Viñaza, C. Muñoz y Manzano, Conde de, Goya. Su tiempo, su vida, sus obras, Manuel G. Hernández, Madrid, 1887, pp. 276, n. XII. Casalduero, Joaquín, Significado del Saturno goyesco, Boletín del Museo del Prado, IV, 1983, pp. 167-169. Sánchez Cantón, Francisco Javier, Escultura y pintura del siglo XVIII. Francisco de Goya., XVII, Plus Ultra, Madrid, 1965, pp. 346.en) Fred Licht, Goya: The Origins of the Modern Temper in Art, Icon, 1983, 288 p. ( ISBN 0-06-430123-0), p.288

Földényi, F. László, Goya y el abismo del alma, Galaxia Gutenberg; Círculo de Lectores, Barcelona:, 2008. The space in Saturn Devouring His Son by Francisco Goya is defined by a strong sense of claustrophobia and confinement. The figures in the painting are crowded into a tight, compressed space, with Saturn's massive body dominating the foreground and appearing to press in on the other figures. The use of dramatic lighting and strong contrasts of light and dark also contribute to the sense of confinement and darkness in the space. Goya's use of foreshortening and distorted perspective adds to the overall sense of unease and disorientation in the composition, creating a feeling of physical and psychological distortion. The meaning Teixidor Cadenas, C., Fotografías de Laurent en la Quinta de Goya, Descubrir el Arte, 154, 2011, pp. 48-54. Just as lines can be organic or geometric, so too can shapes and forms. If we look at the types of shape and form in the Saturn Devouring His Son painting it appears more organic, in other words, closer to nature, compared to geometric, which would be more angular and artificial-looking.

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Toutefois, certains critiques ont estimé que la version de Rubens serait plus horrible en ce qu'elle représenterait un tueur calculateur sans remords qui, craignant pour sa situation, assassine son enfant innocent, alors que dans sa version, Goya représente un homme rendu fou par le fait de tuer son propre fils. En outre, dans le tableau de Goya le corps du fils est celui d'un adolescent alors que Rubens a peint un bébé sans défense [6 ] , [7 ]. Junquera y Mato, J. J., Goya frente a la Guerra de la Independencia. Un dudoso patriotismo, unos cuadros sospechosos y un pintor nuevo, Edición Personal, Madrid, 2013, pp. 21-29. Space in art can be categorized as positive and negative, the “active area” of the subject itself and the area around it, respectively. In the Saturn Devouring His Son painting, the positive space is undoubtedly Saturn devouring his child and the negative space is the unidentified darkness around him. Noticias del Prado: Comité Internacional sobre la restauración de "Las Hilanderas" de Velázquez y las "Pinturas Negras" de Goya, Boletín del Museo del Prado, IV, 1983, pp. 197-199. Sánchez Cantón, Francisco Javier, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972, pp. 280, n. 798.