At The Prado Analysis

While visiting the Prado, our tour focused mainly on the works of Goya, and the succession of paintings throughout his life. The works consisted of three main categories that included Goya as the tapestry designer, court painter, and his black paintings. As discussed in class and at the museum, Goya first began his career in Zaragoza, Spain, and during the 1770’s he moved to Madrid. Goya worked under three different kings, and when he arrived in Madrid, Charles the III was in power. Charles the III was known as an enlightened despot, and he introduced reforms to modernize the country such as, the promotion of culture, arts, and education. In the Prado, we saw a painting of Charles the III done by Goya. The painting showed Charles the III

He received this position, through the help of his friend Anton Raphael Mengs. These large tapestries were designed to hang in the palace for the royal family to enjoy. At the Prado, on the top floor, is an entire space dedicated to Goya’s tapestries. The paintings depicted the real people of Madrid and their everyday life. The first painting we saw was called La era, o El Verano. This very large painting, displayed peasants that were taking a break after harvesting the wheat. This picture displays the ordinary people of Spain, and a typical Spanish tradition, the siesta. Another tapestry we saw and that we discussed in class was the Las floreras o La Primavera. Similar to the last painting, the Parasol was designed for the dining room of the Prince and Princess of Asturias. However,

In the Prado, we looked at the painting Christ Crucified. This painting was made in 1780 and is interesting because it displays the crucifixion of Christ, but it does not look gruesome or cruel. Instead, in the painting Jesus’ body looks healthy, and he does not have any wounds or marks on him. Therefore, the message behind Goya’s painting is difficult to understand because he did not have any strong religious beliefs. Next, we looked at two of Goya’s most controversial paintings. The Maja Desnuda and the Maja Vestida. At the Prado we learned that these two paintings were created for Manuel Godoy. Their intent was to be hung in a private room at Godoy’s palace; however, due to their controversial message, Ferdinand the VII confiscated the paintings. In class we discussed the La Maja Desnuda and its vulgarity. At the time, the painting was very radical because of the exposed pubic hair and the women’s confrontational