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The Romanticism of Goya's work is shown in the way that it is openly partisan and emotional -- it lacks the clean lines of David's painting and thus make the figures seem more worthy of pathos, more real as subjects to the viewer, even though the rendering of the subject may be less realistic on the surface. Goya's intent was to make a clear, partisan point that would move the viewer to judge war harshly, as well as see the French soldiers as butchers. Its Romanticism is also evident in the way that it is intended to move the heart about the individuality of often unrecognized citizens, rather than to inspire the viewer to noble ideals of self-sacrifice of any soldier. "With Goya we do not think of the studio or even of the artist at work," as we do when seeing in David's work, for while David openly recalls previous artwork in his styles, Goya "think[s] only of the event" of the present, and seeks to depict its specificity and intensity (Clark, 2007).
To a modern sensibility, the Neoclassical...
Goya's painting is not journalism; rather it is the artist's subjective, impressionistic memories of a terrible event. On some level, both David and Goya's paintings have a symbolic validity beyond the individual myths or history they chronicle Goya's: "is not the record of a single episode, but a grim reflection on the whole nature of power," and David's is a tale of nobility, a value David sees as timeless although his mythological re-telling looks dated in the eyes of many critics (Clark, 2007).
Works Cited
Clark, Kenneth. "The Shootings of May Third 1808." From Looking at Pictures.
Excerpted on the web 8 Jul 2007 at http://www.artchive.com/artchive/G/goya/may_3rd.jpg.html
Stokstad, Marilyn. 2005. Art History. New York: Harry N. Abrams, Inc.
Works Cited
Clark, Kenneth. "The Shootings of May Third 1808." From Looking at Pictures.
Excerpted on the web 8 Jul 2007 at http://www.artchive.com/artchive/G/goya/may_3rd.jpg.html
Stokstad, Marilyn. 2005. Art History. New York: Harry N. Abrams, Inc.
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