Neoclassicism and the Artistic Evolution of Goya

Neoclassicism: Reason and Antiquity

Neoclassicism is an artistic movement that began in the nineteenth century, identified with reason, universal values, and eternal principles closely linked to ancient art. It condemns the Baroque style and takes Greco-Roman and Renaissance art as its primary models, favoring an austere and serene aesthetic. The movement emerged following the archaeological discoveries at Pompeii and Herculaneum, which provided new knowledge of the ancient world and inspired many artists to create reproductions.

Sculpture in the Neoclassical Era

In sculpture, artists focused on contained volumes and the use of white marble to represent themes of antiquity. There was a strong interest in the ideal of beauty, characterized by attitudes of rest, far removed from eroticism. The two most representative sculptors of this period were Canova and Thorvaldsen.

Painting and the Classical Ideal

In painting, artists faced a challenge: the scarcity of surviving ancient works. Consequently, painters drew inspiration from sculpture, prioritizing drawing over color. Frequently represented topics included classical mythology and history. Key figures included:

• Jacques-Louis David: Known for his heroic neoclassical style.
• Jean-Auguste-Dominique Ingres: Famous for his obsession with the female nude, anatomy, and his use of sfumato-like techniques in works such as his famous "Bathers."

Francisco Goya: A Unique Artistic Journey

Francisco Goya is a painter difficult to categorize, as his style evolved significantly throughout his life. Influenced by Velázquez and considered a precursor to Rembrandt, his work touches upon movements such as Expressionism, Surrealism, and the early stages of Romanticism.

Stages of Goya's Career

• Early Works: His initial training in Zaragoza and his trip to Rome under the tutelage of Francisco Bayeu. During this stage, he utilized chromatic ochres and browns, notably in the Basilica of Our Lady of the Pillar.
• Maturity: Goya became a court portraitist. These works are noted for their psychological depth, elaborate settings, and objective realism, as seen in his portraits of the Countess of Chinchón and the family of Charles IV.
• The Black Paintings: Following an illness that left him deaf, his later works—such as The Second of May 1808, The Third of May 1808, and his depictions of bullfighting—reflect horror and drama. These pieces are characterized by dark tonalities, ochres, yellows, and carmine reds.