A) Art historians use different methods when it comes to art historical analysis. What are the two methods discussed right at the beginning of the video?
Two of the three methods of historical art analysis discussed in the video are the observation of “formal properties”, the physicality of the art work, and the analysis of the historic context in which that work of art was created, such as the political, social and economic conditions of the time.
Two of the three methods of historical art analysis discussed in the video are the observation of “formal properties”, the physicality of the art work, and the analysis of the historic context in which that work of art was created, such as the political, social and economic conditions of the time.
B) Both of the art historians narrating this video go through a three-step process for understanding Goya's Third of May. Pay close attention to Beth Harris and Steven Zucker's conversation and answer the following:
1. What are formal properties when we talk about art? Please note 2 formal properties that you find interesting that Harris and Zucker discuss in the video.
Formal properties in art refer to physical elements present in the art itself. They may refer to technique, composition, scale, color, or a myriad of other aspects of the pieces physicality. Sometimes they are highly explicit, for example the pieces size, and sometimes they are subtler, such as the arrangement of elements on the canvas and their relationships with one another.
- “Extreme contrast of light and dark”: the artist, to bring attention to and away from certain areas of the canvas has essentially divided it up into regions of light and dark. For example, the victims are painted with very light tones where as the solders are depicted in darker tones. The focal poet of the cavass, the man raising his hands, is significantly lighter than the rest of the painting. Tone not only provides an illusion of depth, but also gives the painting an element of dynamism which makes the viewing experience far more powerful.
- Scale: The painting is very large, in fact it measures almost 9 by 12 feet. This is a measure of the ‘weight’ or import of the subject matter in the piece and of the artists “ambition for the work of art.” I find it very interesting how manipulating something as simple as scale can dramatically change the ‘feel’ of a painting. Take for instance the painting Guernica by Picasso. I believe that its effect comes not only from the aggressive use of contrasting grey tones but also from its impressive size. “The Third of May” employs a similar scaling technique.
2. What is subject matter when we talk about art? Please note 2 points about subject matter that Harris and Zucker discuss in the video.
Subject matter in a piece of art is what is being expressed in said piece of art. Often the subject matter is laced with the personal agenda of the artist and may be attempting to co convey a political, social or cultural message to the audience. Subject matter refers to the explicit, the elements present in the art, as much as it does to the implicit, that intangible thing which is the ‘meaning’ or ‘reason’ behind the painting.
- Figures in the painting: Present in the painting are two groups of people, those about to be executed and those serving as their executioners. Something of particular note in this painting is how the victims are all facing towards us, allowing us to feel empathy and concern for them. On the other hand, the solders are facing away from us, hiding their faces and thus preventing an emotional response from the viewer. I find it interesting how Goya has chosen to humanize some by orienting them so their faces are visible while also dehumanizing others by painting them looking away from the viewers. Could this refer be because he wants to convey to the audience, by triggering emotions like empathy, who he thinks is in the right and who is in the wrong? I think that this is the case.
- Narrative: Somewhat synonymous with the historical context of the painting is the negative present in it, however I think that it also qualifies as “subject matter.” The story present in this image is one that describes the events of May 3rd, mainly how innocent Spanish citizens were forced out of the city of Madrid and killed in retaliation for the Spanish uprising against the new French king the day before. This story is visible in the painting because of certain choices made by the artist. For example, the buildings behind are representing the city of Madrid and the hill behind those about to be killed serves as proof that they are no longer in an urban area but instead have been taken far away for their execution. Moreover, the ethnicity of those being killed is clear in Goya’s depiction of them. Over all I feel like this painting is strong because of the historical events and narrative emended by the artist within it.
3. What is context in relation to art? Please note 2 contextual points that you find interesting as discussed by Harris and Zucker.
Context when referring to a work of art is all that which was going on in the world of the artist at the time. This may include large scale factors such as social, economic or political trends. It would also include the personal conditions of the artist, for example his emotional or spiritual state. In short, “context” is those external factors which influenced the art in some way.
- Actions of Emperor Napoleon I: The recent actions of the French Monarch at the time, Napoleon Bonaparte, play a crucial role in the context of this painting. In the time before this painting was made, Emperor Napoleon was able to depose the Spanish King and install his Brother, King joseph I, as the new ruler of Spain. The Spanish people rose in rebellion the day before that depicted in this painting, the 2nd of May. The actions depicted in the painting are those which took place directly after the Spanish uprising, the massacre of innocent Spanish people in retaliation for the rebellion. These events are clearly depicted in the painting, making them as much subject matter as context, however the actions of France and its armies are not shown but are still vitally important to the proper understanding of Goya’s Masterpiece.
- Goya’s Emotions: Another piece of context in the creation of this painting is the fact that Goya was not impartial to the actions of the French military. He came from his own Spanish background and therefor had preconceived notions which infused his decisions when creating this work of art. In this artwork, the formal elements "reveal Goya's political sympathies" towards the spanish in this time of termoil. I feel like the artists emotional state is as important as sociatial trends when discussing the “context” of a work of art because each play a large role in shaping their art. For example, if Goya’s background had been French, might his painting have showed the solders in a more heroic light? I think so.
4. Finally, I am interested in knowing what might have been most interesting or surprising for you about Goya's painting after watching this video? Do you look at it differently now?
What I find most intriguing about this piece of art is how the unfinished brush strakes do not deter from the aesthetic quality of the piece. Instead they enhance it, giving it the sense that it is a snapshot of a particular moment. For example, as mentioned in the video, the sketchy brush strokes that make up the white shirt give it the impression that it is still in motion, as if the man wearing it had just thrown up his hands the instant before. Over all, I find that the imperfections in the technique lend the painting a feeling of immediacy and chaos, something which greatly enhances it for me.