The Third of May 1808

The Third of May 1808: A Masterpiece of Modern Art

Imagine a world where art transcends the canvas to become a powerful statement against oppression—this is exactly what Francisco Goya’s The Third of May 1808 in Madrid does. Painted in 1814, this iconic work commemorates a pivotal moment during Spain’s resistance against Napoleon’s armies. But why did Goya choose to depict such a grim scene? Was it just to remember the past or was there something more profound at play?

The Context of War

During the French occupation, Goya found himself in a difficult position. Initially supporting the ideals of the French Revolution, he soon witnessed firsthand the brutal reality of subjugation and oppression. This personal experience fueled his artistic vision, leading him to create The Third of May 1808. The painting marks a significant departure from traditional depictions of war, setting it apart as one of the first modern works.

A Dramatic Scene

Imagine standing in a narrow square under the light of a lantern. To your left, you see huddled victims, their faces illuminated by the harsh glow. On the right, a firing squad stands in shadow, a monolithic unit ready to carry out its grim task. This is the scene Goya captures in The Third of May 1808. The square lantern throws dramatic light on the scene, with the brightest illumination falling on the huddled victims. Meanwhile, the firing squad stands engulfed in shadow, their faces obscured by darkness. A townscape looms in the nocturnal distance, possibly including French barracks, while a crowd with torches is visible in the background.

A Larger Series

Many believe that The Third of May 1808 was part of a larger series. Written commentary and circumstantial evidence suggest that Goya painted four large canvases memorializing the rebellion of May 1808. In his memoirs, José Caveda wrote of four paintings by Goya of the second of May, while Cristóbal Ferriz mentioned two other paintings on the theme.

The Disasters of War

While The Third of May 1808 was completed in 1814, it wasn’t until 1820 that Goya’s series of aquatint etchings, The Disasters of War, was fully realized. These prints provide a grim and unflinching look at the horrors of war, with most made between 1810-1814. The album of proofs gives clues to the order in which the prints were composed, including scenes witnessed during Goya’s trip to Saragossa.

Technical Challenges

The Third of May 1808 faced mixed reactions from critics and historians when it was first unveiled. Some found it flawed due to its flat perspective or overly close executioners. However, Richard Schickel argues that Goya’s intention wasn’t academic propriety but rather to strengthen the overall impact of the piece.

A Subversion of Martyrdom

The painting subverts traditional depictions of martyrdom in Christian art by focusing on brutal reality instead of light and hope. The victims are part of a continuum, with disfigured corpses lying beneath them, symbolizing the inevitability of their fate. There is no cathartic message here; it presents a continuous procession of the condemned in a mechanical formalization of murder.

Influences and Legacy

Goya’s work influenced Édouard Manet’s Execution of Emperor Maximilian, which was inspired by a print version of The Third of May. This painting depicts an execution during the Peninsular War, characterized by its emotional and romantic portrayal of a tragic event. It has been cited as an influence on Pablo Picasso’s Guernica (1937) and Massacre in Korea (1951), which also explore themes of violence and trauma.

The Power of Art

Art critics have praised The Third of May 1808 for its raw power, clarity, and emotional impact. It surpasses traditional history painting conventions by presenting a stark and unflinching look at the horrors of war. Goya’s masterpiece is not just a historical record but a powerful statement against oppression, reminding us that art can be a force for change.

Through The Third of May 1808, Goya not only captured a moment in history but also challenged the very nature of art itself. His work continues to resonate, reminding us that even in the darkest times, there is always hope for change and progress.