Francisco Goya, a Spanish painter,
is a contemporary of Jacques-Louis David,
the famous French painter.
However, their styles
are so very different.
And Goya cannot be placed
in any particular category.
His work is not neoclassical,
but neither is it necessarily romantic.
Goya, more often than not,
paints contemporary scenes.
And they are imbued 
with all kinds of meaning.
In The Third of May, painted in 1814,
after the French had left Spain,
but it's depicting an event
that happened in 1808.
This is a revolt
against French imperialism,
and it is full of emotion and meaning.
At the center here, in full light,
is a figure
with his hands thrown up in the air,
and he is flooded in light.
This is a Christ-like figure,
symbolizing martyrdom,
a heroic figure standing in the center,
facing a whole line of guards.
It's a firing squad.
This is an unknown man,
he is surrounded by other innocent people
who are being executed,
in which over a hundred people
were executed.
And Goya depicts this
with very thick paint,
definitely not a neoclassical style,
and he is using a dramatic light and dark.
Although Goya was a great painter,
he was also an amazing print maker.
This is one of his etchings and aquatints
from a series called Los Caprichos,
or The Caprices.
In this piece, called The Sleep of Reason,
Goya is really embracing 
the more romantic idea
and rejecting rationalism.
In this series of Los Caprichos,
the majority of the imagery,
80 prints in all, 
of aquatints and etchings,
and they were published
a year after he created them.
These prints are an artistic experiment.
This is something we have not seen before.
It's a series basically making fun
of the upper-class
and the universal follies and foolishness
in the Spanish society in which he lived.
There's a variety of criticism.
He speaks against superstition,
the ignorance and inability
of members of the ruling class,
marital mistakes,
and the decline of rationality.
Some of the prints
have anti-clerical themes.
In this piece we see this as entitled
Ruega Por Ella,
which basically means Pray For Her.
It was custom to cut yourself
and let blood
to make yourself more pale as a woman.
And in this piece we have a very old woman
in front of a mirror, arranging her hat.
And this is titled Hasta La Muerte,
or Until Death.
This elderly woman gazes at herself
in the mirror,
but she doesn't see
her wrinkles and her age.
She is still trying
to make herself beautiful.
Goya himself described this series
as depicting the innumerable foibles
and follies to be found
in any civilized society,
and from the common prejudices
and deceitful practices
which custom ignorance
or self-interest have made usual.
Another series that Goya produced,
that was really for himself,
it was never seen or publicized
until Goya died,
and it was made from a lot of drawings.
And this one is called
The Disasters of War.
Ranging in 1808 to 1813,
a total of 82 etchings,
and they are only seen after Goya's death,
they're never published.
These are hard to look at images.
There are three different groups:
One, with victims and horrors
that include common people;
Two, famine and death
that includes burial and effects of war
and, three, monsters.
This one is entitled Y No Hay Remedio,
which means And It Cannot Be Helped.
Most of these etchings are then followed
by a numbed monotone of captions
that kind of add to the horror
and the drama.
This one entitled Tristes Presentimientos
de Lo Que Ha de Acontecer
or Gloomy Premonitions
of What Must Come to Pass.
These drawings portray a private observer.
There's no patronage. This is all freedom.
These are all Goya's thoughts.
And in this piece, it depicts
a lone figure with his arms outstretched,
as if gazing to heaven,
looking and praying for God's help.
And he is depicted
with this dark background behind him,
with moving line and bathed in light.
There is no glorification here.
This is not romanticized.
Goya is depicting
the violence and misery of war.
