Romanticism Rises by Goya (Europe — c. 1800)

An illustrated arts story from Wonder Arts — free to read, with narration.

Romanticism Rises by Goya (Europe — c. 1800) — an illustrated arts story, set in Global. 10 illustrated pages, free to read on Wonder Arts.

Romanticism Rises by Goya (Europe — c. 1800) — book cover — Wonder Arts
Romanticism Rises by Goya (Europe — c. 1800) — an illustrated arts story, set in Global. 10 illustrated pages, free to read on Wonder Arts.

Page 1

Francisco Goya stands before his haunting masterpiece, 'Saturn Devouring His Son.' Painted circa 1819-1823, this chilling work is one of the 'Black Paintings,'…
Francisco Goya stands before his haunting masterpiece, 'Saturn Devouring His Son.' Painted circa 1819-1823, this chilling work is one of the 'Black Paintings,' a series created directly on the walls of his home, Quinta del Sordo. Measuring 146 cm x 83 cm, it now resides in the Museo del Prado, Madrid. Its profound darkness and visceral imagery, unseen before, mark a radical shift in artistic expression and reflects the painter's descent into personal despair.

Francisco Goya stands before his haunting masterpiece, 'Saturn Devouring His Son.' Painted circa 1819-1823, this chilling work is one of the 'Black Paintings,' a series created directly on the walls of his home, Quinta del Sordo. Measuring 146 cm x 83 cm, it now resides in the Museo del Prado, Madrid. Its profound darkness and visceral imagery, unseen before, mark a radical shift in artistic expression and reflects the painter's descent into personal despair. Goya is the epitome of the change from Neoclassical to the Romanticism style.

""These are not mere images, these are reflections of a broken world," Goya mutters, his eyes reflecting the painting's somber hues. "A world where the old devours the new, fear consumes hope.""

Art Fact: Saturn Devouring His Son, 1819-1823, Museo del Prado, Madrid. One of the 'Black Paintings', originally painted on the walls of Goya's house.

Page 2

A carriage rattles through the streets of Madrid. Goya, in his early forties, grimaces, his hand pressed against his ear.
A carriage rattles through the streets of Madrid. Goya, in his early forties, grimaces, his hand pressed against his ear. The vibrant street noises – vendors hawking, children laughing – now sound muffled and distorted, a prelude to the silence that will gradually engulf him. This loss of hearing will drive him inward, intensifying the darkness that will later define his 'Black Paintings.' ""Curse this ringing!" Goya exclaims, frustrated.

A carriage rattles through the streets of Madrid. Goya, in his early forties, grimaces, his hand pressed against his ear. The vibrant street noises – vendors hawking, children laughing – now sound muffled and distorted, a prelude to the silence that will gradually engulf him. This loss of hearing will drive him inward, intensifying the darkness that will later define his 'Black Paintings.'

""Curse this ringing!" Goya exclaims, frustrated. "It's like a constant storm inside my head. This is as true as what Shakespeare said: 'When sorrows come, they come not single spies, but in battalions.'""

Art Fact: Goya contracted a severe illness in 1793, which left him permanently deaf.

Page 3

Years later, Goya witnesses the brutal reality of war as Napoleon's troops invade Spain. Sketches fill his notebooks—grisly scenes of executions, civilian…
Years later, Goya witnesses the brutal reality of war as Napoleon's troops invade Spain. Sketches fill his notebooks—grisly scenes of executions, civilian suffering, and unspeakable cruelty. These images will fuel his series 'The Disasters of War,' etching plates filled with raw, unflinching portrayals of human barbarity that will challenge traditional notions of heroism and glory.

Years later, Goya witnesses the brutal reality of war as Napoleon's troops invade Spain. Sketches fill his notebooks—grisly scenes of executions, civilian suffering, and unspeakable cruelty. These images will fuel his series 'The Disasters of War,' etching plates filled with raw, unflinching portrayals of human barbarity that will challenge traditional notions of heroism and glory.

""Look at what man is capable of doing to his fellow man," Goya whispers to himself, his face etched with horror. "This is not glory, this is pure madness.""

Art Fact: 'The Disasters of War' is a series of 82 prints created between 1810 and 1820, depicting the atrocities of the Peninsular War.

Page 4

Goya, now the court painter for Charles IV, struggles with his role. He is commissioned to paint flattering portraits of the royal family, figures he privately…
Goya, now the court painter for Charles IV, struggles with his role. He is commissioned to paint flattering portraits of the royal family, figures he privately views as inept and corrupt. This tension between duty and personal conviction will subtly infiltrate his work, revealing a critical eye beneath the veneer of official portraiture. "A courtier says, "Paint them as gods, Goya!" Goya replies, "But sir, even gods have shadows.

Goya, now the court painter for Charles IV, struggles with his role. He is commissioned to paint flattering portraits of the royal family, figures he privately views as inept and corrupt. This tension between duty and personal conviction will subtly infiltrate his work, revealing a critical eye beneath the veneer of official portraiture.

"A courtier says, "Paint them as gods, Goya!" Goya replies, "But sir, even gods have shadows. As Leonardo Da Vinci said, 'Painting embraces all the ten functions of the eye; that is to say: darkness, light, body and colour, form and situation, distance and nearness, motion and rest.' I can't hide their faults." "

Art Fact: Goya served as court painter to the Spanish monarchy from 1786 until 1828.

Page 5

Romanticism Rises by Goya (Europe — c. 1800) — page 5 illustration — Wonder Arts
Romanticism Rises by Goya (Europe — c. 1800) — page 5 illustration — Wonder Arts

A scandal erupts over 'La Maja Desnuda' (The Naked Maja), a painting commissioned by Manuel Godoy. The work is shockingly sensual for its time, depicting a reclining nude woman with unapologetic directness. The painting challenges societal norms and sparks controversy, further solidifying Goya's reputation as a daring and unconventional artist.

""Such a bold display of the human form is unheard of!" exclaims a scandalized member of the court. Another says, "Is it art or merely an instrument to provoke?""

Art Fact: 'La Maja Desnuda' (The Naked Maja) caused a sensation when it was first exhibited due to its explicit depiction of nudity.

Page 6

Fearing political repercussions after the restoration of the monarchy, Goya isolates himself in the Quinta del Sordo, his country house.
Fearing political repercussions after the restoration of the monarchy, Goya isolates himself in the Quinta del Sordo, his country house. Here, surrounded by silence and haunted by his memories, he begins painting directly on the walls, creating the 'Black Paintings,' a series of nightmarish visions reflecting his deepest anxieties and disillusionment.

Fearing political repercussions after the restoration of the monarchy, Goya isolates himself in the Quinta del Sordo, his country house. Here, surrounded by silence and haunted by his memories, he begins painting directly on the walls, creating the 'Black Paintings,' a series of nightmarish visions reflecting his deepest anxieties and disillusionment.

""I need to find myself again, alone in silence, surrounded by my darkest thoughts." Goya said to the driver as they sped towards his new home."

Art Fact: The Quinta del Sordo, Goya's country house, became the site of his most personal and disturbing artistic creations.

Page 7

Inside the Quinta, Goya works feverishly, covering the walls with disturbing imagery. 'Saturn Devouring His Son,' 'Judith and Holofernes,' and 'Witches'…
Inside the Quinta, Goya works feverishly, covering the walls with disturbing imagery. 'Saturn Devouring His Son,' 'Judith and Holofernes,' and 'Witches' Sabbath' emerge from the darkness, each painting a reflection of his inner turmoil and a condemnation of human folly. These works are not intended for public display but are private expressions of his despair.

Inside the Quinta, Goya works feverishly, covering the walls with disturbing imagery. 'Saturn Devouring His Son,' 'Judith and Holofernes,' and 'Witches' Sabbath' emerge from the darkness, each painting a reflection of his inner turmoil and a condemnation of human folly. These works are not intended for public display but are private expressions of his despair.

""I must paint what haunts me, even if it terrifies others." Goya remarks, brush in hand."

Art Fact: Goya never intended the 'Black Paintings' for public display; they were created as private expressions of his inner world.

Page 8

Goya, weary and disillusioned, sells the Quinta del Sordo. The 'Black Paintings' are left behind, hidden from the world.
Goya, weary and disillusioned, sells the Quinta del Sordo. The 'Black Paintings' are left behind, hidden from the world. Years later, they are discovered and transferred to canvas, preserving Goya's dark vision for posterity. The Romanticism style would soon take hold of Europe. ""These walls, these visions... they are too much for me now." Goya sighs.

Goya, weary and disillusioned, sells the Quinta del Sordo. The 'Black Paintings' are left behind, hidden from the world. Years later, they are discovered and transferred to canvas, preserving Goya's dark vision for posterity. The Romanticism style would soon take hold of Europe.

""These walls, these visions... they are too much for me now." Goya sighs. "Let them be discovered by a world ready to understand the darkness.""

Art Fact: The 'Black Paintings' were transferred to canvas in 1874, decades after Goya's death.

Page 9

Goya exiles himself to Bordeaux, France, seeking solace and freedom from political turmoil. He continues to paint, but his health deteriorates.
Goya exiles himself to Bordeaux, France, seeking solace and freedom from political turmoil. He continues to paint, but his health deteriorates. In 1828, he dies at the age of 82, leaving behind a legacy of groundbreaking art that challenged conventions and explored the darkest corners of the human psyche.

Goya exiles himself to Bordeaux, France, seeking solace and freedom from political turmoil. He continues to paint, but his health deteriorates. In 1828, he dies at the age of 82, leaving behind a legacy of groundbreaking art that challenged conventions and explored the darkest corners of the human psyche.

"In a final act of reflection, Goya says, "I have seen much and lived through much and now comes the great reward"."

Art Fact: Goya died in Bordeaux, France, on April 16, 1828, at the age of 82.

Page 10

Charles IV visits Goya in Bordeaux, a frail shadow of his former self. The King, accompanied by Godoy, appears genuinely saddened by the artist’s condition.
Charles IV visits Goya in Bordeaux, a frail shadow of his former self. The King, accompanied by Godoy, appears genuinely saddened by the artist’s condition. “Francisco,” Charles says softly, “your portraits captured an empire. Even in exile, your talent shines.” Godoy remains silent, observing with a calculating gaze. Goya manages a weak smile.

Charles IV visits Goya in Bordeaux, a frail shadow of his former self. The King, accompanied by Godoy, appears genuinely saddened by the artist’s condition. “Francisco,” Charles says softly, “your portraits captured an empire. Even in exile, your talent shines.”

Godoy remains silent, observing with a calculating gaze. Goya manages a weak smile. "Majesty," he rasps, "an artist merely reflects what is… and what will be." He gestures weakly towards a canvas depicting the horrors of war – a stark contrast to the regal portraits Charles remembers.

“A somber reflection,” Godoy finally offers, his tone laced with disapproval. Goya closes his eyes, accepting his fate. The great reward, he thinks, is not escape from darkness, but understanding it.

About this story

  • Location: Global
  • Audience: general readers

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