01 Painting, The art of War, Francisco Goya's The 3rd of May 1808 in Madrid, or “The Executions”, with footnotes

Goya y Lucientes, Francisco de

The 3rd of May 1808 in Madrid, or “The Executions”, c. 1814

Oil on canvas

Height: 268 cm; Width: 347 cm

 Museo Nacional del Prado

A depiction of the execution of patriots from Madrid by a firing squad from Napoleon´s army in reprisal for their uprising against the French occupation on the second of May, 1808. The French soldiers are at the right of the composition, with their backs to the viewer. They aim their rifles at the Madrilenes who are to die. The scene´s drama and tension are emphasized by the use of light, which strongly illuminates the heroes, making it possible to distinguish their characters and attitudes in a detailed psychological character study. Along with its companion, The 2nd of May 1808 in Madrid: the charge of the Mamelukes (P748), this work was made at the initiative of the Reagent, Luis de Boubon in 1814. More on this painting

Goya’s painting has been lauded for its brilliant transformation of Christian iconography and its poignant portrayal of man’s inhumanity to man. The central figure of the painting, who is clearly a poor laborer, takes the place of the crucified Christ; he is sacrificing himself for the good of his nation. The lantern that sits between him and the firing squad is the only source of light in the painting and dazzlingly illuminates his body, bathing him in what can be perceived as spiritual light. His expressive face, which shows an emotion of anguish that is more sad than terrified, echoes Christ’s prayer on the cross:

 Forgive them Father, they know not what they do. Luke 23:24

Close inspection of the victim’s right hand also shows stigmata, referencing the marks made on Christ’s body during the Crucifixion. 

The man’s pose not only equates him with Christ, but also acts as an assertion of his humanity. The French soldiers, by contrast, become mechanical or insect-like. They merge into one faceless, many-legged creature incapable of feeling human emotion. Nothing is going to stop them from murdering this man. The deep recession into space seems to imply that this type of brutality will never end. More on this painting

Francisco Goya was a talented Spanish painter and printmaker, and is considered one of the last of the Old Masters of painting, as well as the first of the moderns. He began his apprenticeship in painting at the age of 14, and his talent was quickly recognized. He first submitted entries to the Royal Academy of Fine Arts in 1763, and then later in 1766, both of which were denied. But, in 1771, he traveled to Rome and won second place in a painting competition and secured employment designing tapestries at the Royal Tapestry Factory. He completed over 42 patterns, which were used to cover the walls in the newly built palaces around Madrid, giving him an immediate royal audience.

In the 1780’2 he became friendly with the crown prince of Spain, spending two summers with him and his family, paintings portraits, and expanding his circle of royal patrons. He was given a salaried position as a court painter in 1786, and in 1799 was made the first court painter, painting for the king and his family, as well as the Spanish nobility.

Between the years of 1792 and 1793, Goya suffered from a mysterious illness, which made him deaf, and affected his mental behavior. Some current medical scientists believe that his deafness was a result of the lead in which he used in his paints, whereas others believe it may have been some sort of viral encephalitis. Either way, its effect on Goya cannot be understated. After his illness, he became withdrawn and introspective, and began painting a series of disturbing paintings on the walls of his house in Quinta del Sordo. His earlier themes of merry festivals and cartoons changed into depictions of war and corpses, representing a darkening of his mood. Whether this has more to do with the French declaration of war on Spain or some medical problem leading to mental disturbance is up to debate. 

As such, his legacy ranges from simple portraits of the royal family to devilish portrayals of demons eating their young. His legacy also has inspired several operas, a piano suite, and a number of feature films. More on Francisco Goya

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