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Goya's Prison: - Red Square Design

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Goya’s <strong>Prison</strong> – the Year of Despair explores the story<br />

behind these dark images and what compelled Goya<br />

to paint them.<br />

By 1792, Goya, approaching forty-six, had become<br />

bored with painting cartoons for the Royal Tapestry<br />

Factory. (Fig.10) Since 1775 he had painted more than<br />

sixty, full size, colour compositions. Some were huge.<br />

The money was good, but they were only for Royal<br />

consumption, and no wider audience saw them. In<br />

any case, the very nature of translating Goya’s painted<br />

images into large scale tapestry production forced<br />

his technique to limit its expressiveness. Goya’s<br />

career was at a crossroads. Although he had achieved<br />

acclaim and patronage as a painter of portraits, genre<br />

and religious scenes, it appears that he was not where<br />

he wanted to be. His destiny was determined after he<br />

was stricken by an illness that remains a mystery to<br />

this day. Whatever the cause of the illness, the year<br />

that followed marked a turning point in defining the<br />

career of one of Western art’s greatest masters.<br />

In October 1792, just before his illness struck, Goya<br />

had been one of a number of Academicians who<br />

addressed the Royal Academy with ideas for reforms<br />

in the teaching of art. Goya spoke passionately against<br />

the imposition of rules in painting and of a common<br />

curriculum to be forced upon all students. He criticised<br />

those who lauded the perfection of Greek statues as<br />

subject matter above the study of nature. Goya asked<br />

his audience:<br />

“What statue or cast of it might there be that<br />

is not copied from divine nature? As excellent<br />

as the artist may be who copied it, can he not<br />

but proclaim that when placed at its side, one<br />

is the work of God and the other of our own<br />

miserable hands?” 6<br />

Standing at the centre of the cultural elite of Madrid,<br />

Goya’s statement demonstrated his desire for all<br />

artists to enjoy an uninhibited freedom of expression<br />

and unbridled exploration of the imagination.<br />

9 Yard with Lunatics<br />

Francisco de Goya<br />

1793-4<br />

Oil on tinplate 43.5 x 32.4cm<br />

Dallas, Meadows Museum,<br />

Southern Methodist University<br />

5<br />

Goya’s <strong>Prison</strong> – the Year of Despair

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