Goya, The Family of Charles IV

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Goya, The Family of Charles IV발음듣기

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(piano music playing) Steven: We're in the Prado in Madrid and we're looking at a large canvas by Francisco Goya.발음듣기

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It's the The Family of Charles IV.발음듣기

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There's a direct reference to Velázquez's Las Meninas.발음듣기

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We can see the artist actually, a self-portrait, a bit more in shadow than Velázquez painted himself, behind a large canvas, pretty much at the same angle as one found in Las Meninas and of course, 발음듣기

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the royal family are right before us.발음듣기

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Although in this case, the king and queen are here not as a reflection in a mirror, but directly before us.발음듣기

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Beth: I think that strikes us today as unflattering.발음듣기

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I think we're much more used to royal portraits that have a kind of idealism to it and here we have a range of that.발음듣기

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Some of the figures look more ideal in their poses and their faces than others, 발음듣기

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but there's certainly a way that the queen, herself, looks very much I think the way that she really looked and even the king to some extent.발음듣기

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Steven: As opposed to a more idealized, more youthful figure and I think that Goya is doing something quite extraordinary by in a sense pushing those boundaries and the royal family is allowing him to, 발음듣기

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but while there is a kind of particularity to the faces and that kind of psychological depth to each of the faces and a striking beauty in terms of the representation of the children.발음듣기

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The costume across this freeze of bodies is spectacular, the sense of the ornament, the sense of the military medals.발음듣기

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Beth: Of the gold and the silver sort of glittering in the light.발음듣기

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You can catch the glistening jewelry if your eye just wanders across the canvas.발음듣기

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Steven: And Goya has rendered it just brilliantly.발음듣기

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Beth: Yeah, very, very loosely in a very ventrally way, that's also very reminiscent of Velázquez.발음듣기

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Steven: Now, it's interesting that the royal family is looking in a sense back to Velázquez in this portrait, because this is the time that's really.발음듣기

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Beth: It is. Spain is in a kind of a crisis at this moment.발음듣기

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You know, the French Revolution has taken place.발음듣기

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The royal families across Europe are wondering whether or not they're going to be able to maintain order, maintain their rule and in fact, this family would not be able to.발음듣기

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Beth: No, not at all.발음듣기

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Fernando, who we see on the left in blue, actually, collude with Napolean and Napolean's invasion of Spain and Napolean would put his own brother on the throne of Spain very soon.발음듣기

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So this is a royal family that doesn't have much longer to live in this way and it's hard not to read the enlightenment in a different way that in the modern world we look upon royal families.발음듣기

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We don't see them as having that kind of divine right and kind of royal lineage and a bloodline that makes them different from us.발음듣기

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In a way, they look very human and ...발음듣기

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And many of them do and it's hard not to see that enlightenment thinking in Goya's mind.발음듣기

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We know, in fact, that he was sympathetic with the enlightenment and the critique of the monarchy.발음듣기

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Steven: There certainly is a kind of informality, that almost feels a bit like disarray in the composition of the figures, different from the informality that one finds in Velazquez.발음듣기

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But again, I think it's interesting that Goya and the royal family are both looking back to that period of stability and in the sense trying to recapture that at a moment when everybody, I think, is cognizant that Spain is at the threshold of a moment when there may be significant change. (piano music playing) 발음듣기

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