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Spain's Identity Reflected in Goya in the Prado Museum

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lesson for <strong>the</strong> spectator. To f<strong>in</strong>d <strong>the</strong> artist‟s m<strong>in</strong>d freely at work, we must w<strong>in</strong>d back down <strong>the</strong> stairs to<br />

ano<strong>the</strong>r w<strong>in</strong>g of <strong>the</strong> museum that is tucked away from <strong>the</strong> regular traffic of daily<br />

life. There is someth<strong>in</strong>g fitt<strong>in</strong>g about where <strong>the</strong>se works are placed <strong>in</strong> <strong>the</strong> museum.<br />

Depiction from <strong>Goya</strong>‟s<br />

Disasters of War<br />

Unlike <strong>the</strong> commissioned works that celebrate Spa<strong>in</strong>‟s history and way of life,<br />

<strong>Goya</strong>‟s non-commissioned pa<strong>in</strong>t<strong>in</strong>gs wrestle with <strong>the</strong> nation‟s complicated and often tragic history.<br />

Unlike <strong>the</strong> edify<strong>in</strong>g pa<strong>in</strong>t<strong>in</strong>gs located <strong>in</strong> <strong>the</strong> Great Hall, <strong>the</strong>se works, <strong>in</strong> <strong>the</strong>ir graphic and gruesome<br />

detail, depict some of <strong>the</strong> most significant moments <strong>in</strong> <strong>the</strong> development of Spa<strong>in</strong>‟s nationalism.<br />

Spa<strong>in</strong> is unique among <strong>the</strong> o<strong>the</strong>r nation-states of Europe. Typically, nationalism is formed<br />

around a common culture or ethnicity. However, Spa<strong>in</strong> is a nation that houses many different cultures<br />

and, <strong>in</strong> many cases, <strong>the</strong> citizens don‟t even share a common language. Spa<strong>in</strong>, also, does not have what<br />

o<strong>the</strong>r modern enlightenment nations share: a successful revolutionary moment, where <strong>the</strong> residents were<br />

suddenly united as one people <strong>in</strong> a common revolutionary cause aga<strong>in</strong> <strong>the</strong> feudal oppressors.<br />

Never<strong>the</strong>less, <strong>the</strong>re is someth<strong>in</strong>g that still that unites Spa<strong>in</strong> as a nation. Spa<strong>in</strong>‟s tragic past has not been<br />

led to its dissolution as so often happens <strong>in</strong> history, but ra<strong>the</strong>r <strong>the</strong>se trials and tribulations are <strong>the</strong> very<br />

material from which <strong>the</strong> country has cultivated its own solidarity.<br />

In order to completely understand this political evolution and subsequently <strong>the</strong> concepts that are<br />

seem<strong>in</strong>gly depicted <strong>in</strong> works done by <strong>Goya</strong>, one must, like <strong>the</strong> guests of <strong>the</strong> <strong>Prado</strong>, meander <strong>the</strong>ir way<br />

through <strong>the</strong> complicated history of Spa<strong>in</strong>. Thus, when enter<strong>in</strong>g <strong>in</strong>to <strong>the</strong> room<br />

where <strong>the</strong>se works are exhibited <strong>in</strong> <strong>the</strong> <strong>Prado</strong>, it is appropriate that only those<br />

who understand <strong>the</strong> complexities beh<strong>in</strong>d <strong>the</strong>se works are able to f<strong>in</strong>d and enjoy<br />

<strong>Goya</strong>‟s 3 rd of May<br />

1808<br />

<strong>the</strong>m. <strong>Goya</strong>‟s Black Pa<strong>in</strong>t<strong>in</strong>gs and his Disasters of War are no façade for outsiders but a witness to <strong>the</strong><br />

<strong>in</strong>ner truth of Spanish nationalism. Here I will attempt to demonstrate how <strong>Goya</strong>‟s works <strong>in</strong> this room<br />

are designed to illustrate <strong>the</strong> possibilities and limitations of modern politic for Spa<strong>in</strong>.

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