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José jiménez y

    Aranda
    1879

    Oil on canvas

    Spanish 1837 –

    1903
    Legion Of

    Honor
Francisco Goya

    1808

    Oil on canvas

    Museo del

    Prado, Madrid
Both paintings are realist.

Holy Week in Seville and Third of                       In Goya’s image the greenish
                                                       
    May are both made out of oil.                           brown color used in the grassy hill
                                                            is similar to the color used in
    The images both use a person as

    their main focal point.
        Third of May the man in white is used to
    ◦
        draw you into the photo because he is the
        only man wearing any type of color.
        Holy Week in Seville the man in a maroon/
    ◦
        red coat is located at the front of the image
        closest to the viewer which draws you in.
Holy Week in Seville

    ◦ Depicts Realist subject matter,
      dealing with a yearly event in
      the town’s courtyard.

    ◦ Painting is a straightforward,
      accurate and uncensored record
      of everyday life in Seville.

    ◦ Aranda’s work isn’t typical of
      Academic Art, which was much
      fancier, and deemed refined by
      the “experts.”
Third of May

    ◦ Is an emotional propaganda
      piece designed to make light of
      the injustices committed by the
      French, During their occupation
      of Spain.

    ◦ Embellished and glorified to
      highlight the severe tension and
      adrenaline that all involved
      parties experienced.

    ◦ The strong lighting, unclear and
      loose brushstrokes, and Goya’s
      personal imagination of the
      event are all representative of
      Romanticism.
Spanish painter and printmaker.            Reached his popularity peak with
                                          
                                               the royalty during the reign of
    Court painter to Spanish Crown

                                               Charles IV.
    and chronicler of history.
                                               Painted Third of May to warn the
    Regarded as last of the “Old           

                                               French to never do it again.
    Masters” and as the first of the
                                                   Taking advantages of the unarmed and
    moderns.                                   ◦
                                                   innocent lives.
    Subversive and subjective element

    in his art, as well as his bold
    handling of paint, provide a model
    for the work of later generations of
    artists, including Édouard Manet
    and Pablo Picasso.
    Painter of royalty, including

    Charles III in 1786 and Charles IV
    in 1789.



                                                     Goya’s self-portrait
Spanish painter, also a remarkable        Appointed member of the
                                         
    draftsman and illustrator.                Academy of Fine Arts, where he
                                              became a professor in 1987.
    Trained in Seville under Manuel

                                              Settled in Madrid in 1890 and
    Cabral and Eduardo Cano de la         
    Peña.                                     changed the theme of his
                                              paintings to everyday life.
    Attempted to exploit fortuny y

    marsal’s style, known as
    fortunismo or preciosity.
    Began an early interest in genre

    painting, due to the tradition of
    romanticism in Seville.
    Already exhibiting pictures of this

    type (romanticism) at exposición
    nacional in Madrid in 1864

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Romanticism & Realism Art History

  • 1.
  • 2. José jiménez y  Aranda 1879  Oil on canvas  Spanish 1837 –  1903 Legion Of  Honor
  • 3. Francisco Goya  1808  Oil on canvas  Museo del  Prado, Madrid
  • 4. Both paintings are realist. 
  • 5. Holy Week in Seville and Third of In Goya’s image the greenish   May are both made out of oil. brown color used in the grassy hill is similar to the color used in The images both use a person as  their main focal point. Third of May the man in white is used to ◦ draw you into the photo because he is the only man wearing any type of color. Holy Week in Seville the man in a maroon/ ◦ red coat is located at the front of the image closest to the viewer which draws you in.
  • 6.
  • 7. Holy Week in Seville  ◦ Depicts Realist subject matter, dealing with a yearly event in the town’s courtyard. ◦ Painting is a straightforward, accurate and uncensored record of everyday life in Seville. ◦ Aranda’s work isn’t typical of Academic Art, which was much fancier, and deemed refined by the “experts.”
  • 8. Third of May  ◦ Is an emotional propaganda piece designed to make light of the injustices committed by the French, During their occupation of Spain. ◦ Embellished and glorified to highlight the severe tension and adrenaline that all involved parties experienced. ◦ The strong lighting, unclear and loose brushstrokes, and Goya’s personal imagination of the event are all representative of Romanticism.
  • 9. Spanish painter and printmaker. Reached his popularity peak with   the royalty during the reign of Court painter to Spanish Crown  Charles IV. and chronicler of history. Painted Third of May to warn the Regarded as last of the “Old   French to never do it again. Masters” and as the first of the Taking advantages of the unarmed and moderns. ◦ innocent lives. Subversive and subjective element  in his art, as well as his bold handling of paint, provide a model for the work of later generations of artists, including Édouard Manet and Pablo Picasso. Painter of royalty, including  Charles III in 1786 and Charles IV in 1789. Goya’s self-portrait
  • 10. Spanish painter, also a remarkable Appointed member of the   draftsman and illustrator. Academy of Fine Arts, where he became a professor in 1987. Trained in Seville under Manuel  Settled in Madrid in 1890 and Cabral and Eduardo Cano de la  Peña. changed the theme of his paintings to everyday life. Attempted to exploit fortuny y  marsal’s style, known as fortunismo or preciosity. Began an early interest in genre  painting, due to the tradition of romanticism in Seville. Already exhibiting pictures of this  type (romanticism) at exposición nacional in Madrid in 1864