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GoyaБЂ™s black paintings in the Prado were originally in his farm outside Madrid filling large rooms. They are images of black grief, without logic, or apparent story line.

There is Saturn Eating Io, his son. The colours striking over a panicked populous (at the top of his arm gobs of bitumen black paint) БЂ" black was never like this БЂ" Van DyckБЂ™s black is beautiful and subtle БЂ" no so here.

The central figure is not idealized nor a martyr sacrificing himself to an idea in the expectation of salvation but a person no longer helped by faith, who has been denied human dignity, abandoned to brutality. The scene does not convey any morality, merely a reality in which morality has lost currency.

Most of the victims have faces. Their killers do not. Anonymous killing is born.

Blood beneath, the red of an abattoir.

The key figure in the painting has yellow pants and blazing white shirt. His eye the big black corner ringed in white bulges with terror. He throws his arms up and out as though throwing his whole life in extremis in the face of his murderers. The arms portray crucifixion.

This is a picture portraying the brutality of modern warfare from the victimsБЂ™ perspective. The men to be shot have a horrified impotence in the face of the soldiers with rifles, an impersonal, godless, lethal force.

I will focus on The Shootings of May 3rd, 1808 (above) at the Prado in Madrid. There was a popular uprising in Madrid against the invading Napoleonic troops on May 2, 1808. Citizens attacked FranceБЂ™s Moorish Cavalry (also a painting by Goya БЂ" Prado). In response, France ordered execution by night.

The Inquisition БЂ" an on and off again force БЂ" did ask Goya about the painting but thereБЂ™s no record of his answer.

At the time there was some suspicion that the model was none other than the Duchess of Alba, a leading member of the aristocracy. So long has the rumour persisted that in 1945 the then Duke of Alba had her grave disinterred so her height could be ascertained in order to refute the allegation. Paul Johnson indicates that the results of this review werenБЂ™t made public.

He has a point, although uncomfortable is a strange word. The painting is odd, I admit. It has become a work of immense notoriety.

БЂњLike nearly all the great reclining nudes, including those by Titian, Velazquez and Manet, it reflects the almost insoluble difficulties painters find in displaying the whole of a womanБЂ™s nakedness and, at the same time, suggesting repose. The girlБЂ™s body is not sunk in the cushions, as it ought to be; it is as though she is holding herself rigid to present the maximum display. Her legs are particularly awkward and her feet unnaturally placed. Her arms are stiff and do not support her head. Indeed, the head looks as though it belongs to another body and was simply stuck on, omitting the neck. I find it uncomfortable to look at this painting, for reasons which have nothing to do with sex.БЂ«

Paul Johnson a knowledgeable art critic doesnБЂ™t like the paintings. In the British Spectator, November 30, 1991 he said:

Up to this time nudity was introduced by a mythological or religious context. Here the young woman leers at the viewer, no props, no diversions, just sheer commercial lust. Goya was called up before the Inquisition on it. The Prime Minister Godoy, a ladies man, had a clothed Maya of the same woman by Goya on a pulley over the naked Maya and depending on the guest, Godoy would pull a certain pulley.

Goya could do everything. He painted the Naked Maya 1789-1805 (Prado). The Inquisition forbade nudity. This isnБЂ™t a portrayal of nudity with its sense of innocence, this is sheer naked.

Goya became totally deaf at a young age, a bi-product of tapestry cartooning which carried with it a chemical hazard leading to deafness. Goya from then was secretive, obsessed with his health, fearing blindness. He painted royalty and secretly did prints БЂ" disasters of war БЂ" a bleak commentary of horror from the French suppression of Spanish uprisings.

Revolt occurred. The Church was attacked; it responded with a vengeance. Violence was the norm.

He lived through the French Revolution, the Napoleonic wars, the Enlightenment БЂ" a time when Spain had lost its position as the worldБЂ™s greatest marine power to England. Napoleon installed his brother as head of Spain.

Goya was born in Spain at a time when his country was in the artistic doldrums.

Julian Porter, Q.C. » Francisco Goya (1746-1828)