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HAUNTED WORKS OF ART: Artist of the Supernatural

Francisco Goya

THE HAUNTED BLACK PAINTINGS

 

Saturn Devouring his Son, 1819. The painting has none of the attributes associated with the classical myth; the title, like all those given to the Black Paintings, was assigned by others after Goya's death.

Saturn devouring his son (Saturno devorando a su hijo), 1819, mural transferred to canvas (146 x 83 cm), Museo del Prado, Madrid.Perhaps the best known of the Black Paintings is Saturn Devouring His Son. The frightening image portrays the Roman god Saturn eating one of his children. (The Greek counterpart to Saturn is Cronus, father of Zeus.) Fearing a prophecy that one of his children would overthrow him, Saturn ate each of his children upon their birth. Goya depicts this act of cannibalism with startling savagery. The background is black, while the limbs and head of Saturn seem to pop out of the shadows. Saturn's eyes are huge and bulging as if he is mad. His fingers dig into the back of his son, whose head and right arm are already consumed. Saturn is about to take another bite of his child's left arm. The only use of color besides flesh-tones is the splash of red blood covering the mutilated outline of the upper part of the partially-eaten, motionless body, which is chillingly depicted in deathly white.

Real Haunted Paintings Haunted Art Gallery Of The Strange And Unexplained!

Story Submitted by Jason Corrnet

Francisco José de Goya y Lucientes (March 30, 1746 – April 16, 1828) was a Aragonese Spanish painter and printmaker.

Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. Many of Goya's works are on display in the Museo del Prado in Madrid.

The Black Paintings are a group of paintings by Francisco Goya created in the later years of his life (1819-1823) that portray intense, haunting themes.


In 1819 at the age of 72, Goya moved into a two-story house outside of Madrid called "Quinta del Sordo," or "Deaf man's villa". Although the house had been named after the previous owner who was deaf, Goya was himself deaf at the time as a result of an illness he suffered at the age of 46.

After the Napoleonic Wars and the turmoil of the Spanish government, Goya developed an embittered attitude towards humanity. He had an acute awareness of panic, terror, fear, and hysteria. Also surviving two near-fatal illnesses, Goya grew increasingly anxious and impatient in fear of relapse. These factors combined are thought to have led to his production of 14 works known as the Black Paintings.

Using oil paints and working directly onto the walls of his dining and sitting rooms, Goya created intense, haunting works with dark themes. The paintings were not commissioned, and they were not meant to leave his home. He did not title the paintings, but art historians have since provided titles.

The Incantation
1797-98; Oil on canvas, 16 1/2 x 11 3/4"; Lazaro Galdiano Foundation, Madrid

Another of Goya's dark paletted works from the Black Paintings collection is titled The Great He-Goat or Witches' Sabbath (El aquelarre). Earlier, Goya created a version of this work in a more cheerful and optimistic way, however, this image is ominous and gloomy. This earth-toned illustration shows Goya's demonstration of the ancient belief that the Sabbath was a meeting of witches supervised by the devil, who took the form of a goat. The goat is painted completely black and appears as a silhouette in front of a crowd of witches and warlocks. These "sub-humans" have sunken eyes and near horrifying features. The figures huddle together, leaning towards the devil. Only one girl seems resistant to the crowd, and she sits at the far right, dressed in black holding a muff. Though she does not appear involved in the ritual, she does seem to be captivated by the group's relationship to the devil.

Goya was born in Fuendetodos, Spain, in the kingdom of Aragón in 1746 to Joseph Goya and Gracia Lucientes. He spent his childhood in Fuendetodos, where his family lived in a house bearing the family crest of his mother. His father earned his living as a gilder. About 1749, the family bought a house in the city of Zaragoza and some years later moved into it.

Goya attended school at Escuelas Pias, where he formed a close friendship with Martin Zapater, and their correspondence over the years became valuable material for biographies of Goya. At age 14, he entered apprenticeship with the painter José Luján.

He later moved to Madrid where he studied with Anton Raphael Mengs, a painter who was popular with Spanish royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the Royal Academy of Fine Art in 1763 and 1766, but was denied entrance.

He then journeyed to Rome, where in 1771 he won second prize in a painting competition organized by the City of Parma. Later that year, he returned to Zaragoza and painted a part of the cupola of the Basilica of the Pillar, frescoes of the oratory of the cloisters of Aula Dei, and the frescoes of the Sobradiel Palace. He studied with Francisco Bayeu y Subías and his painting began to show signs of the delicate tonalities for which he became known.

The Colossus
1808-12 (120 Kb); Oil on canvas, 45 3/4 x 41 1/4 in; Museo del Prado, Madrid

As French forces invaded Spain during the Peninsular War (1808–1814), the new Spanish court received him as had its predecessors.

When Pepa died in 1812, Goya was painting The Charge of the Mamelukes and The Third of May 1808, and preparing the series of prints known as The Disasters of War (Los desastres de la guerra).

King Ferdinand VII came back to Spain but relations with Goya were not cordial. In 1814 Goya was living with his housekeeper Doña Leocadia and her illegitimate daughter, Rosario Weiss; the young woman studied painting with Goya, who may have been her father.[4] He continued to work incessantly on portraits, pictures of Santa Justa and Santa Rufina, lithographs, pictures of tauromachy, and more.

With the idea of isolating himself, he bought a house near Manzanares, which was known as the Quinta del Sordo (roughly, "House of the Deaf Man"). There he made the Black Paintings.

Francisco Goya y Lucientes (Spanish, 1746-1828), The sleep of reason produces monsters

Unsettled and discontented, he left Spain in May 1824 for Bordeaux and Paris. He settled in Bordeaux. He returned to Spain in 1826 after another period of ill health. Despite a warm welcome, he returned to Bordeaux where he died in 1828 at the age of 82.

In a period of convalescence during 1793–94, Goya completed a set of eleven small pictures painted on tin; the pictures known as Fantasy and Invention mark a significant change in his art. These paintings no longer represent the world of popular carnival, but rather a dark, dramatic realm of fantasy and nightmare.

Courtyard with Lunatics is a horrifying and imaginary vision of loneliness, fear and social alienation, a departure from the rather more superficial treatment of mental illness in the works of earlier artists such as Hogarth. In this painting, the ground, sealed by masonry blocks and iron gate, is occupied by patients and a single warden. The patients are variously staring, sitting, posturing, wrestling, grimacing or disciplining themselves. The top of the picture vanishes with sunlight, emphasizing the nightmarish scene below.

This picture can be read as an indictment of the widespread punitive treatment of the insane, who were confined with criminals, put in iron manacles, and subjected to physical punishment. And this intention is to be taken into consideration since one of the essential goals of the enlightenment was to reform the prisons and asylums, a subject common in the writings of Voltaire and others. The condemnation of brutality towards prisoners (whether they were criminals or insane) was the subject of many of Goya’s later paintings.

Truth has Died by Goya

As he completed this painting, Goya was himself undergoing a physical and mental breakdown. It was a few weeks after the French declaration of war on Spain, and Goya’s illness was developing. A contemporary reported, “the noises in his head and deafness aren’t improving, yet his vision is much better and he is back in control of his balance.” His symptoms may indicate a prolonged viral encephalitis or possibly a series of miniature strokes resulting from high blood pressure and affecting hearing and balance centers in the brain.

Other postmortem diagnostic assessment points toward paranoid dementia due to unknown brain trauma (perhaps due to the unknown illness which he reported). If this is the case, from here on - we see an insidious assault of his faculties, manifesting as paranoid features in his paintings, culminating in his black paintings and especially "Saturn Devouring His Sons."

 

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HAUNTED HOLY PRINTS, POSTER AND STATUES: It's not haunted it's a Miracle!

Stories of bleeding statues ad icons have been around for many centuries. now adays it is not just paintings but actual posters and prints also. We often hear these stories during lent each year and most often how the public reacts. MORE HERE

Also See: Haunted Museum Art Gallery

Can inanimate objects such as paintings be haunted? Strange images appear in haunted paintings, and at other times it is just the feeling that it imparts in us. Some are haunted great works of art, others by something in a painting that bothers them. Can contemporary and those of the old masters be actually haunted? Are is it just imagined?

Can inanimate objects such as paintings be haunted? Strange images appear in haunted paintings, and at other times it is just the feeling that it imparts in us. Some are haunted great works of art, others by something in a painting that bothers them. Can contemporary and those of the old masters be actually haunted? Are is it just imagined?

 

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