.

And by a prudent flight and cunning save A life which valour could not, from the grave. A better buckler I can soon regain, But who can get another life again? Archilochus

Saturday, March 3, 2018

Goya

That god who stares from the picture-space
As if he - only now it's done,
The madness slaked - can recognize the face
Whose blood and brains he gulped, to be his son,
Catches the humanist's eye.

Chronus, blind time, knowing himself again
To be Kronos the wretched king,
Squirms like a frog across the void, his pain
Goya suggests in the stiff dance he's doing;
The darker shape of why

Is shadowed in the history of Spain.
The deed of sacrifice once done
Is such as never can be done again.
The naked body of the beloved son
In his sire's hand must die.

And many kingdoms of the past have died
Choked by the monuments they raised:
Eternity bought by infanticide,
An immortality of being praised.
The fierce Spanish sky

Towers like fate over exhausted fields;
The gold they wrestled from the sun
Wasted the factories and burnt the guilds.
All that the dark conquistadors had won
Time swiftly would deny.

The traveller, though, is not content at last.
There is an immortality
That looks, not to the future, but the past.
-Frederick Turner, "On Goya's 'Saturn'"

3 comments:

FreeThinke said...

As a little child Goya's work always made me feel uneasy –– oddly depressed and fearful. This was true even of his portraits of prominent figures of his day such as The Duchess of Alba.

Only Bosch, Blake, Hogarth, Daumier and Gustave Dore could begun to rival him in this realm.

Red Herring said...

With talk of a military confrontation with Iran fast becoming the daily lead story in the international news pages, the average art lover's thoughts likely turn to Goya who began work on his infamous Disasters Of War series two centuries ago this month.

With the series – 82 prints inspired by the Peninsular War – Goya broke an ages-old, iconographical tradition. Dating back to Assyrian reliefs and Trajan’s column, war art had always previously been commissioned by the winner, in celebration of his triumph. To the victor, the spoils – and the commemorative art.

Disasters Of War, however, was commissioned by no one. It was Goya’s private project, which he never even published in his lifetime. Unflinchingly he depicts mutilation, torture, rape and many other atrocities besides – performed, indiscriminately, by French and Spanish alike. This art wasn’t partisan, it was a grim observation of man’s potential inhumanity to man; of the true barbarities of war.

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