Francisco de Goya

Saturn Devouring One of His Children (Saturno devorando a un hijo)

Clasificación
Saturn Devouring One of His Children (Saturno devorando a un hijo)
Datos Generales
Cronología
Ca. 1820 - 1823
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
143.5 x 81.5 cm
Técnica y soporte
Oil painting on plaster transferred to canvas
Reconocimiento de la autoría de Goya
Undisputed work
Titular
El Prado National Museum
Ficha: realización/revisión
27 Oct 2010 / 16 May 2024
Inventario
(P00763)
Historia

See Leocadia.

Análisis artístico

This painting was traditionally thought to have been located opposite Leocadia on the shorter wall of the lower floor of the house known as the Quinta del Sordo, but Glendinning has offered a new theory on its location. Photographs taken before the painting was lifted from the walls seem to reveal a light - possibly coming from a window - which lights up the painting more intensely on the right-hand side, suggesting that the it must have been situated on that side of the room, opposite Two Old Men.

In this painting Goya depicted the mythological subject of Saturn: the god of time who devoured his children when his wife gave birth to them until she was able to prevent him from killing the last, Jupiter, who defeated his father and made him disgorge all his brothers and sisters. The painting depicts the terrible moment when Saturn is dismembering and swallowing one of his children. He seems to crush through the body with the strength of his hands, the blood seeping between his fingers.

The iconographic image is reminiscent of Rubens' work of the same title, although there are differences between the two paintings. Rubens is more respectful of the traditional iconography of the subject, while Goya focuses on the cruel and aggressive side of the god.

According to Nordström, this painting is the starting point of the series that allows us to understand the iconographic programme of the room in which Saturn, the god of melancholy, symbolizes Goya's mood at the time, faced with old age and the illness he had suffered in 1819. Another link with Saturn is that Goya was marked by his sign as an artist and creator.

It is a very simple painting, bordering on the abstract. The intense expressionism of Saturn's face is striking. The face is full of movement, created with strong, vigorous brushstrokes that, according to Gudiol, conceal a perfect drawing underneath. It is a painting of contrasts, since the figure of the god stands out against a dark, neutral, rather unreal background and the red blood also contrasts with the black and grey tones, achieving a gruesome effect.

The expressionism that Goya develops in this painting would serve as an inspiration for contemporary artists: the way he distorts the body and the gestures of his figures as if they were beasts had an influence on 20th-century artists such as Solana or Francis Bacon.

 

Conservación

Apart from the restoration work carried out by Martínez Cubells in 1973, the Prado Museum also carried out further restoration work in 1919. It was restored once more in 1987 by Herlinda Cabrero.

The canvas was lined, and lost its white ground. During the first restoration the work was repainted in various places where the paint had been lost. One of the areas that had suffered the most damage was the eyes, which were repainted.

Exposiciones
  • Pinturas Negras en la Exposición Universal de París
    Palacio del Trocadero
    París
    1878
    from may 20th to November 10th 1878
  • Goya. 250 Aniversario
    Museo Nacional del Prado
    Madrid
    1996
    consultant editor Juan J. Luna. From March 29th to June 2nd 1996
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
  • Expérience Goya
    Lille
    2021
Bibliografía
  • YRIARTE, Charles
    Goya, sa vie, son œuvre
    ParísHenri Plon
    1867
    pp. 140
  • BERUETE Y MONET, Aureliano de
    Goya, pintor de retratos, t. I
    MadridBlass y Cía
    1916
    pp.122-127
  • NORDSTRÖM, Folke
    Goya, Saturno y melancolía. Consideraciones sobre el arte de Goya
    StockholmAlquimis & Wiksell
    1962
    p.230-240
  • FUSTER, Antonio F.
    Goya. Las Pinturas Negras
    MadridGoya Hispano-Inglesa de Reaseguros, D.L.
    1963
    pp. 129-132
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 328, cat. 1624
  • GUDIOL RICART, José
    BarcelonaPolígrafa
    1970
    vol. I, p. 378, cat. 702
  • Xavier Salas
    Goya
    BarcelonaCarroggio S.A. de Ediciones
    1974
    p. 201, cat. 585
  • MULLER, Priscilla
    Goya's Black Paintings: Truth and Reason in Light and Liberty
    New YorkHispanic Society of America
    1984
    pp. 167-177
  • GLENDINNING, Nigel
    Las Pinturas negras de Goya
    Goya: Jornadas entorno al estado de la cuestión de los estudios sobre Goya
    MadridUniversidad Atónoma de Madrid
    1993
    p. 44
  • ARNAIZ, José Manuel
    Las pinturas negras
    MadridEdiciones Antiquaria, S.A
    1996
    pp. 86-87
  • MORENO DE LAS HERAS, Margarita
    Goya. Pinturas del Museo del Prado
    MadridMuseo Nacional del Prado
    1997
    pp. 316-319
  • JUNQUERA, Paulina
    Las Pinturas Negras de Goya
    LondonScala Publishers Ltd.
    2003
    pp. 64-65
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    BostonMuseum of Fine Arts Boston Publications
    2014
    pp. 18-19
  • COTENTIN, Régis
    Expérience Goya (cat. expo)
    LilleRéunion des Musées Nationaux
    2021
    pp. 140-141
Ficha en SAAC

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