Bosch: The Garden of Earthly Delights – Adoration of the Magi – Cutting the Stone – The Haywain Triptych – Head of a Halberdier – Paradise and Hell – The Seven Deadly Sins and the Four Last Things – The Temptation of St Anthony Saturn Devouring His Son can be seen as a reflection of the violence and horror that Goya witnessed during this period, as well as a critique of the abuses of power and the destructive nature of patriarchy. The painting's themes of brutality, oppression, and insanity are all deeply relevant to the political and social context of Goya's time. Saturn ate his sons partly because he feared their power when grown men. Goya based this design on a picture by Rubens of the same subject and in seventeenth-century emblem books Saturn signified the weariness of the aged for whom life Sánchez Cantón, F. J., Vida y obras de Goya, Editorial Peninsular, Madrid, 1951, pp. 35, 37, 68, 160, 167. Corpus rubenianum Ludwig Burchard: an illustrated catalogue, IX, Arcade Press, Londres, 1968, pp. 260.

It is difficult to square the genteel portraiture of Francisco Goya’s early works with the increasingly macabre, jaded artwork he created towards the end of his career; indeed, unless you could trace his art as it appeared, you would likely to struggle to believe that this was all the work of one man. And perhaps Goya would have struggled to believe it, too, in his quiet later moments: his early life, whilst by no means easy, could boast an array of personal successes. He was selected as a court painter in 1786, and as such his work became populated by members of the royal family, all costly dresses and coiffured hair. He ascended to the highest rank awarded to court painters in 1799 and this, together with his friendships with the great and the good, perhaps gave him the confidence to paint his ‘Maja’, a rather daring nude – even if this was deemed too profane to be shown during Goya’s lifetime. Still, being bold enough to paint it at all speaks to a certain daring, a certain sense of liberty. Prada Pareja, Javier de, Goya y las Pinturas Negras desde la psicología de Jung, Editores Asociados para la Divulgación Literaria, Madrid:, 2008, pp. 279-197, 299-301. Prada, J. de, La dimensión inconsciente en la obra de carácter fantástico de Goya y su repercusión en la atribución al Coloso, Goya: Revista de Arte, 331, 2010, pp. 146-157. In 1874, Baron Frédéric Émile d’Erlanger started the project for the paintings’ removal and placement onto canvas; he bought the house in 1873. The Baron donated the paintings to the Museo del Prado around 1880/1881 after exhibiting them at the Exposition Universelle in Paris in 1878. Goya a sans doute été inspiré par un tableau de Pierre Paul Rubens de 1636 portant le même nom. La toile de Rubens, qui est aussi au Musée du Prado, est plus claire avec un traitement du mythe plus conventionnel, Saturne étant représenté avec moins de férocité que dans l'œuvre de Goya.La violence et l’ambiance des scènes marquent une rupture nette avec les portraits princiers et les scènes champêtres auxquels il s’est souvent consacré. Il s’intéressait en réalité aux pires aspects de l’humain depuis plusieurs décennies, notamment dans ses gravures. On considère souvent ces fresques comme une étude du comportement humain, mais elles ont été interprétées de bien des manières. Violence pure

Saturn Devouring His Son was once a mural Francisco Goya painted inside of his home in Spain. (more) See all videos for this article Gassier, Pierre y Wilson-Bareau, Juliet, Vie et oeuvre de Francisco de Goya: l' oeuvre complet illustré: peintures, dessins, gravures, Office du Livre, Fribourg, 1970, pp. 97, n. 265. Junquera y Mato, J. J., Goya frente a la Guerra de la Independencia. Un dudoso patriotismo, unos cuadros sospechosos y un pintor nuevo, Edición Personal, Madrid, 2013, pp. 21-29.

Saturn devouring his sons (c. 1797) by Francisco de Goya, red chalk on laid paper; Francisco de Goya (1746-1828), Public domain, via Wikimedia Commons Velázquez: Las Meninas – The Triumph of Bacchus – Las Hilanderas – The Surrender of Breda – Mars Resting – Equestrian Portrait of Philip IV – Equestrian Portrait of Elisabeth of France – Equestrian Portrait of Prince Balthasar Charles – Equestrian Portrait of Philip III – Equestrian Portrait of Margarita of Austria – Equestrian Portrait of the Count-Duke of Olivares – Adoration of the Magi – Apollo in the Forge of Vulcan – Christ Crucified – Coronation of the Virgin – View of the Garden of the Villa Medici – Prince Balthasar Charles as a Hunter – Portrait of the Infante Don Carlos – Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis – The Jester Barbarroja – The Jester Calabacillas – The Jester Don Diego de Acedo – The Jester Don John of Austria – Portrait of Francisco Lezcano – Infanta Margarita Teresa in a Pink Dress – Portrait of Maria Anna – Portrait of Juan Martínez Montañés – The Nun Jerónima de la Fuente – Portrait of Pablo de Valladolid – Portrait of Philip IV in Armour – Portrait of Mariana of Austria – Portrait of Sebastián de Morra

La peinture est aussi présente dans la série Snowpiercer diffusé sur Netflix, précisément lors de l'épisode 9 de la seconde saison. Viñaza, C. Muñoz y Manzano, Conde de la, Goya: su tiempo, su vida, sus obras, Manuel G. Hernández, Madrid, 1887, pp. 321, n. 36. Barghahn, Barbara von, Goya's Dark Crucible: Amalgams of Ambiguity, Gazette des Beaux-Arts, CXXII/1499, 1993, pp. 253-261. Self-portrait (c. 1800) by Francisco de Goya; Francisco de Goya, Public domain, via Wikimedia Commons Diego Velázquez: Velázquez painted a portrait of Philip IV of Spain holding a statue of Saturn, which is thought to be a commentary on the king's power and the idea of the ruler as a devourer of his subjects.The Nude Maja (c. 1797-1800): This painting is a provocative and sensual portrait of a reclining nude woman. It caused controversy when it was first exhibited due to its explicit nature, but it has since become one of Goya's most iconic works. Museo Nacional del Prado, Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 293, n. 798.