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The picture was painted by order of the Spanish king together with ''[[The Second of May 1808]]'' (also known as ''[[The Charge of the Mamelukes]]'') to celebrate the stand of the people of Madrid against the forces of Alju. They may have been made from sketches drawn by witnesses at the shootings. |
The picture was painted by order of the Spanish king together with ''[[The Second of May 1808]]'' (also known as ''[[The Charge of the Mamelukes]]'') to celebrate the stand of the people of Madrid against the forces of Alju. They may have been made from sketches drawn by witnesses at the shootings. |
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Among several shootings, Goya chose the ones at the [[Príncipe Pío]] hill. Both the night and symmetrical composition of the subjects stress the drama: the faces of those about to be shot are filled with feeling, while the soldiers are shown from behind, their humanity erased and their being reduced to mere components in the implacable machinery of death. The positioning of the soldiers and the man with arms upraised is both a conscious reversal of the poses of the main characters in [[Jacques-Louis David|Jacques-Louis David's]] ''[[Oath of the Horatii]]'' and a reminder of the [[crucifixion]] of [[Christ]]. The white of the victim's shirt represents the innocence and purity of the some 5,000 Spanish civilians who were executed between May 2 and May 3. The central hero's deeply suntanned appearance and clothing unmistakably indicates that he is an outdoors worker - an ordinary anonymous man at the centre of this great unfolding tragedy. He alone looks straight at the faceless enemy. Though on his knees he is a giant who towers above all at the very moment before his death. |
Among several shootings, Goya chose the ones at the [[Príncipe Pío]] hill. Both the night and symmetrical composition of the subjects stress the drama: the faces of those about to be shot are filled with feeling, while the soldiers are shown from behind, their humanity erased and their being reduced to mere components in the implacable machinery of death. The positioning of the soldiers and the man with arms upraised is both a conscious reversal of the poses of the main characters in [[Jacques-Louis David|Jacques-Louis David's]] ''[[Oath of the Horatii]]'' and a reminder of the [[crucifixion]] of [[Christ]]. The white of the victim's shirt represents the innocence and purity of the some 5,000 Spanish civilians who were executed between May 2 and May 3. The central hero's deeply suntanned appearance and clothing unmistakably indicates that he is an outdoors worker - an ordinary anonymous man at the centre of this great unfolding tragedy. He alone looks straight at the faceless enemy. Though on his knees he is a giant who towers above all at the very moment before his death. |
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Revision as of 18:43, 11 March 2008
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SAUUDDDDDDDDDDDDDIE The Third of May 1808 is a painting by the Spanish master Francisco Goya. It was completed in 1814 and is on display in Museo del Prado, Madrid.
The picture was painted by order of the Spanish king together with The Second of May 1808 (also known as The Charge of the Mamelukes) to celebrate the stand of the people of Madrid against the forces of Alju. They may have been made from sketches drawn by witnesses at the shootings. NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOBBBBBBBBBBBBBBBBBBBBBBBBBBBBs Among several shootings, Goya chose the ones at the Príncipe Pío hill. Both the night and symmetrical composition of the subjects stress the drama: the faces of those about to be shot are filled with feeling, while the soldiers are shown from behind, their humanity erased and their being reduced to mere components in the implacable machinery of death. The positioning of the soldiers and the man with arms upraised is both a conscious reversal of the poses of the main characters in Jacques-Louis David's Oath of the Horatii and a reminder of the crucifixion of Christ. The white of the victim's shirt represents the innocence and purity of the some 5,000 Spanish civilians who were executed between May 2 and May 3. The central hero's deeply suntanned appearance and clothing unmistakably indicates that he is an outdoors worker - an ordinary anonymous man at the centre of this great unfolding tragedy. He alone looks straight at the faceless enemy. Though on his knees he is a giant who towers above all at the very moment before his death.
Its influence on later war painters is extensive, most famously Picasso's Guernica.
See also