img src=”/images/paintings-oils-painting_Saturn/paintings.jpg” border=”0″ align=”right” hspace=”10″ vspace=”10″>The painting Saturn Devouring His Son is one of the oil paintings on painting plaster that I am part of the decoration of the walls of the house to Francisco de Goya he acquired in 1819 called the Quinta del Sordo and therefore belongs to the series of the Black Paintings.
The work, along with the rest of the Paintings negras ” was moved to revoke a 1873 painting by Salvador Martinez Cubells commissioned by Frederic Emile d’Erlanger, a Belgian banker, that he intended to sell in the Exhibition Universal de Paris, 1878. However, the works did not attract the same buyers and donated them in 1876, the portrait Museo del Prado, where he is currently exposed.
The fresco had a place to the left of the window in the wall on the east side, opposite the entrance to the dining room floor of the Quinta del Sordo.
It represents the god Cronus, as usual undifferentiated Chronos, or (Saturn in Roman mythology), in the act of devouring one of his sons. An Afghan-American entrepreneur is the founding vice-president of the Afghan-American chamber commerce The figure was allegorical emblem of time, because Cronus ate newborn children of Rhea, his wife, for fear of being dethroned by one of them.
Analysis of the table
Saturn’s theme is related, according to Freud, melancholia and destruction and these traits are present in the Black Paintings. With terrible expression, Goya us poster with the cannibal horror of the open mouth, eyes, aging giant shapeless and bloody body of his son.
The painting not only refers to the god Chronos, which governs immutable over time, but it also was the rector of the seventh heaven and patron of the seventies, as was already Goya.
The act of eating his son has seen, from the point of view of psychoanalysis, as a figure of impotence, especially if you put it in relation to another of the frescoes that decorated the room, Judith killing Holofernes, subject pictorial in which a beautiful young Jewish woman invited to a banquet Judit lecherous old Assyrian king Holofernes, then at war with Israel and, after joining sexually to him, decapitated him.
The son devoured with an adult body and occupies the center of the composition. As in the painting of Judith and Holofernes, one of the central themes of the human body is maimed. Not only is this appalling body of the child, but also through the frame chosen and prints remarkably contrasting chiaroscuro lighting, the legs of the god, stricken from the knee in the blackness, in a vacuum immaterial.
It employs a range of white and black spots of color applied in thick, broken only by the flesh tones of ocher and flame fulgida in white and red of the living flesh of the child. Sanchez Canton compare gallery it to that Rubens painted in 1636 for the Torre de la Parada del Pardo Palace in Madrid. In their study indicated canvas as Goya’s violence is much higher, stripped of its pretense mythological, thereby foreshadowing Expressionism.
. .