Goya, The Third of May 1808

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Goya tranforms Christian ? and its poignant portrayal of man's inhumanity to maniconographythe central figure of the painting, a poor labourer, takes the place of the ? Christ - sacrificing himself for the good of his nation.crucifiedthe only light source in the painting is the ? that sits between the central figure and the firing squad - illuminates his body, bathing him in what can be perceived as spiritual lightlantern (spiritual light)the central figures expressive face echoes Christ's prayer on the cross "......, they know not what they do"forgive them Fatherwhat is revealed at a close inspection of the central figure's right hand, referencing the marks made on Christ's body during the Crucifixion.stigmatain 19th century art, battle and death was represented as a ? affair with little emotional impact (idealised) - showed the hero in the heroic act.bloodlessBy contrast, what does Goya present us with which is imbued with true PATHOSanti-herothe PATHOS evoked had not been seen, perhaps, since which ancient Roman sculpture? - not perishing heroically in battle but being killed on the side of the road like an animal.The Dying Gaulthe landscape and the dress of the men are nondescript, making the painting ?timelessin 1807, Napoleon, bent on conquering the world, brought Spain's King, Charles IV, into alliance with him in order to conquer which European country? However, it was just a trick and Napoeleon's troops poured into Spain and imposed Joseph Bonaparte, Napoleon's brother, as the new King of SpainPortugalon the 3rd of May, the day after the Spaniard's rebellion, Spanish freedom fights were rounded up and ? by the Frenchmassacreddespite having some French sympathies, the slaughter of his countrymen and the horros of war made a profound ? on the artistimpressionManet and which other artist used the work as inspiration for their own portrayals of political murder?Picassomany comparisons can be drawn between Goya's painting and Manet's Execution of Emperor ?Maximillianit is difficult to imagine the power of Goya's painting in which era?pre-photographic (before people were bombarded by images of war in the media)the painting is a powerful ?-? statement - he criticises nations that wage war on each other and also admonishes the viewers for being complicit in acts of violence.anti-warGoya allegedly painted the scene wet on wet, aka what? - it increases spontaneity & according to his son, Goya worked ten hour sessions, principally at candlelight, to maximise this effect.alla primaprior to the French occupation Goya had been the official court painter to who? Goya was popular amongst the Spanish nobilityCharles IVHowever, after the French army invaded Spain in 1808, Goya became involved with the court of Joseph I, brother of Napoleon, and nicknamed the "? ?"intruder kingAfter the restoration of the Spanish and Bourbon King ? ? in 1814, Goya denied any involvement with the French.Ferdinand VIIKing Ferdinand allegedly claimed that Goya would have been ? had he not been such a good painter - relations were't cordialshotGoya proposed the work to the Provisional Government in an attempt to get back in royal favour - Goya portrays the offence of the French employing ? troops and emphasises the heroism of the Spanish civilians = both pro-Spanish.Moorish (although actually Turkish)by suggesting he witnessed the event Goya affiliates himself with the ? - attempt to get back in royal favour?rebellionWhat is the name of Hutchinson and Robertson's book published in 2015?Art, War and Truth - Images of conflictH&R: "War is both '......." - supported by portrayal of French troops as Moorish when in fact Turkish.a destroyer and maker of truthsH&R: "Art has had a fundamental role in privileging ....." - artistic license to gain royal favoursome ideals of 'truth' over others