"have been printed, though later ones are of lower quality, and most print room collections have at least some of the set. The name by which the series is known today is not Goya's own. His handwritten title on an album of proofs given to a friend reads: Fatal consequences of Spain's bloody war with Bonaparte, and other emphatic caprices (Spanish: Fatales consequencias de la sangrienta guerra en España con Buonaparte, Y otros caprichos enfáticos). Aside from the titles or captions given to each print, these are Goya's only known words on the series. With these works, he breaks from"
"and wounded on the frozen battlefield. In contrast, Goya's large paintings ""The Second of May 1808"" and ""The Third of May 1808"", perhaps consciously conceived as a riposte to Gros, and his related series of 82 etchings, ""The Disasters of War"" (Spanish: ""Los Desastres de la Guerra""), emphasized the brutality of the French forces during the Peninsular War in Spain. British depictions of the Napoleonic Wars continued the late 18th century patterns, often on a larger scale, with the death of Admiral Horatio Nelson quickly producing large works by Arthur William Devis (""The Death of Nelson, 21 October 1805"") and"
"as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, ""The Third of May 1808"" marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian Kenneth Clark, ""The Third of May 1808"" is ""the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention"". ""The Third"
"crowd, the two gentlemen in the centre (from whom the painting gets its original title), and the small girl in the centre left background. For much of its existence, the painting was coated with a dark varnish which gave the incorrect impression that it depicted a night scene, leading to the name by which it is now commonly known. The heavy varnish was only discovered in the 1940s and restoration began after 1975. ""The Third of May 1808"" by Spanish painter Francisco Goya commemorates Spanish resistance to Napoleon's armies during the occupation of 1808 in the Peninsular War. The painting's"
"content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, ""The Third of May 1808"" marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian Kenneth Clark, ""The Third of May 1808"" is ""the first great picture which can be called revolutionary in every sense of the word, in"
"completed his ""La maja desnuda"", a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1801 he painted ""Charles IV of Spain and His Family"", also influenced by Velázquez. In 1807 Napoleon led the French army into the Peninsular War against Spain. Goya remained in Madrid during the war which seems to have affected him deeply. Although he did not vocalise his thoughts in public, they can be inferred from his ""Disasters of War"" series of prints (although published 35 years after his death) and his 1814 paintings ""The Second of May 1808"" and ""The Third"
"of the Good Death) he orchestrated his ""Matinas da Assunção de Nossa Senhora"" (CPM 172) – Matins of the Assumption of Our Lady, written in 1808, and wrote a ""Missa Pequena"" – Small Mass, to the feast of Saint Therese. In 1813 the Royal Theatre of São João, still unfinished, was opened to the public. In this same year, the French army, led by Napoleon Bonaparte, was defeated in Leipzig, and in 1814 Pope Pius VII returned to Rome from his exile in Avignon. These events were cheerfully celebrated in Rio de Janeiro. Only two of the works written by"
"physical illness, and admitted that the series was created to reflect his own self-doubt, anxiety and fear that he was losing his mind. Goya wrote that the works served ""to occupy my imagination, tormented as it is by contemplation of my sufferings."" The series, he said, consisted of pictures which ""normally find no place in commissioned works."" Although Goya did not make his intention known when creating ""The Disasters of War"", art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War and the move against liberalism in the"
"by Spanish post-romanticist writer Gustavo Adolfo Bécquer and by Francisco Goya's painting ""The Third of May 1808"". Toledo, 1808. The city has been occupied by French Napoleonic troops. A firing squad executes a small group of Spanish rebels who cry out ""Long live chains!"" or ""Death to the ""gabachos""!"" -a Spanish pejorative term for ""Frenchmen""-. The troops are encamped in a Catholic church which they desecrate by drinking, singing, and eating the communion wafers. The captain caresses a statue of Doña Elvira de Castañeda and is knocked unconscious by the statue of her husband, Don Pedro López de Ayala. In"
"The Garden of Martyrs The Garden of Martyrs is an opera in three acts by the American composer Eric Sawyer with libretto by Harley Erdman. It is based on the novel by Michael C. White. The opera is drawn from an historical event, covering the last days of Dominic Daley and James Halligan, Irish Catholic immigrants who were tried and executed in Northampton, Massachusetts in 1806 for the murder of Marcus Lyon. The opera has a modern resonance of the story’s theme of “immigration to America and the difficulty and suspicion with which newcomers are greeted.” The Garden of Martyrs"
"reports of American atrocities"" and considers it one of Picasso's communist works. Picasso's work is influenced by Francisco Goya's painting ""The Third of May 1808"", which shows Napoleon's soldiers executing Spanish civilians under the orders of Joachim Murat. It stands in the same iconographic tradition of an earlier work modeled after Goya: Édouard Manet's series of five paintings depicting the execution of Emperor Maximilian, completed between 1867 and 1869. As with Goya's ""The Third of May 1808"", Picasso's painting is marked by a bifurcated composition, divided into two distinct parts. To the left, a group of naked women and children"
"but it was not until 1872 that ""The Third of May"" was listed in the Prado's published catalog, under the title ""Scene of the Third of May 1808"". Both the ""Third"" and ""Second of May"" suffered damage in a road accident while being transported by truck to Valencia for safety during the Spanish Civil War, apparently the only time they have left Madrid. Significant paint losses to the left side of the ""Second of May"" have been deliberately left unrepaired. Restoration work to both paintings was done in 2008 in time for an exhibition marking the bicentennial of the uprising."
"influenced by Goya's ""The Third of May 1808"". The final work, painted in 1868–1869 is now held by the Kunsthalle Mannheim. The painting is signed by Manet in the lower left corner but bears the date of Maximilian's execution in 1867, despite being painted in 1868–1869. Fragments of an earlier and larger painting from about 1867–1868 are held by the National Gallery in London. Parts of that work were probably cut off by Manet, but it was largely complete on his death. Other parts were sold separately after his death. The surviving pieces were reassembled by Edgar Degas and they"
"Les Grandes Misères de la guerre Les Grandes Misères de la guerre (, ""The Great Miseries of War"" or ""The Miseries and Misfortunes of War"") are a series of 18 etchings by French artist Jacques Callot (1592–1635), titled in full Les Misères et les Malheurs de la Guerre. Despite the grand theme of the series, the images are in fact only about 83 mm × 180 mm each, and are called the ""large"" Miseries to distinguish them from an even smaller earlier set on the same subject. The series, published in 1633, is Callot's best-known work and has been called"
"""The Disasters of War"". He visited many battle sites around Madrid to witness the Spanish resistance. The final plates are testament to what he described as """"—the dismemberment of Spain. Art historians broadly agree that ""The Disasters of War"" is divided into three thematic groupings—war, famine, and political and cultural allegories. This sequence broadly reflects the order in which the plates were created. Few of the plates or drawings are dated; instead, their chronology has been established by identifying specific incidents to which the plates refer, and the different batches of plates used, which allow sequential groups to be divined."
"wife Josefa's death in 1812, he was painting ""The Second of May 1808"" and ""The Third of May 1808"", and preparing the series of etchings later known as ""The Disasters of War"" (""Los desastres de la guerra""). Ferdinand VII returned to Spain in 1814 but relations with Goya were not cordial. The artist completed portraits of the king for a variety of ministries, but not for the king himself. While convalescing between 1793–1794, Goya completed a set of eleven small pictures painted on tin that mark a significant change in the tone and subject matter of his art, and draw"
"not. The war began on the night of 2 May 1808, and was immortalized by Francisco Goya's painting ""The Second of May 1808"", also known as ""The Charge of the Mamelukes"". From the outbreak of the Spanish revolt against the Bonapartist regime in 1808, Napoleon's forces faced both Spanish armies and partisans, joined later by British and Portuguese armies under Arthur Wellesley. The Spanish organized an interim Spanish government, the Supreme Central Junta and called for a Cortes to convene with representatives from all the Spanish provinces throughout the worldwide empire, in order to establish a government with a firm"
"many great works. Throughout history, most representations of war depict military achievements and often show significant battle scenes. However, in the 19th century a “turn” in the visual representation of war became noticeable. Artists started to show the disastrous aspects of war, instead of its glorified events and protagonists. Such a perspective is best exemplified by Francisco Goya’s series, The Disasters of War (1810-1820, first published in 1863), and Otto Dix’s portfolio, ""Der Krieg"" (published in 1924). During World War II, both traditions are present. For instance, Paul Nash’s ""Battle of Britain"" (1941) represents a scene of aerial combat between"
"of courageous conquests, showing the achievements in victory of a nation, ruler or commander. Instead of commemorating victories, war also brings about the brutality of conflict and violence. For example, Francisco de Goya's painting of ""The Third of May, 1808 in Madrid: The Executions on the Principe Pio Hill"", 1814 and Ma's ""The Sea of Blood"", 1961 are works that artists use their work to express their personal concerns and moral outrage. In these paintings, war is no longer about heroism and glory, but about murder and torture. Japan invaded China from 1937 to 1945 which is historically known as"
"for blood, destruction and shellfire. The War (Dix triptych) The War (German: ""Der Krieg""), sometimes known as the Dresden War Triptych, is a large oil painting by Otto Dix on four wooden panels, a triptych with predella. The format of the work and its composition are based on religious triptychs of the Renaissance. It was begun in 1929 and completed in 1932, and has been held by the Galerie Neue Meister in Dresden since 1968. It is one of several anti-war works by Dix in the 1920s, inspired by his experience of trench warfare in the First World War. Dix"
"This is worse This is worse (Spanish: Esto es peor) is an etching and wash drawing by the Spanish artist Francisco Goya (1746–1828). Completed between 1812–1815, though not published until 1863, it forms part of his ""Disasters of War"" series, which Goya created as a visual protest against the violence of the 1808 Dos de Mayo Uprising and subsequent Peninsular War of 1808–1814. The image is based on a scene which occurred in Chinchón in December 1808, at a time when Goya's brother was living there as parish priest. When two French soldiers were killed by Spanish rebels, the French"
"His works on the Civil War include ""The Campaign of Chancellorsville"" (1881) and ""Bird's Eye View of the Civil War"" (1883). From 1890 to 1907 he also published twelve volumes of his ""History of the Art of War: Alexander, Hannibal, Caesar, Gustavus Adolphus, Frederick the Great, Napoleon,"" although the volumes on Frederick the Great were not completed before his death. The work has been broken up into individual biographies for modern publication. In addition, his military journal, covering his time with the Army of the Potomac from the Seven Days Battles to Gettysburg, has recently been compiled and published by"
"Charles Tennyson Turner published ""Poems by Two Brothers"". August 12: William Blake died. In 1828, Leo Nikolayevich Tolstoy was born 9 September. In 1828, Karl Wilhelm Friedrich von Schlegel died 11 January. Edgar Allan Poe published a poem: ""Al Aaraaf"". In 1831, Sir Walter Scott published ""Castle Dangerous"". Edgar Allan Poe published a poem: ""The City in the Sea"". In 1832, Percy Shelley published his poem ""The Masque of Anarchy"", a reaction to the Peterloo massacre. Johann Wolfgang Goethe published part II of ""Faust"". On March 20 Goethe died. Jerrold Douglas published ""The Factory Girl"", ""The Golden Calf"" and ""The"
"five of Byron's friends and executors, he decided to destroy Byron's manuscripts because he thought the scandalous details would damage Byron's reputation. With only Thomas Moore objecting, the two volumes of memoirs were dismembered and burnt in the fireplace at Murray's office. It remains unknown what they contained. John Murray III (1808–1892) continued the business and published Charles Eastlake's first English translation of Goethe's Theory of Colours (1840), David Livingstone's ""Missionary Travels"" (1857), and Charles Darwin's ""Origin of Species"" (1859). Murray III contracted with Herman Melville to publish Melville's first two books, ""Typee"" (1846) and ""Omoo"" (1847) in England; both"
"and the symmetry between human and natural forces. The Battle of Trafalgar (painting) The Battle of Trafalgar, 21 October 1805 is an 1822 painting by British artist J. M. W. Turner. It was commissioned by King George IV as a part of a series of works to decorate three state reception rooms in St James's Palace and link the Hanoverian dynasty with military success. This work was Turner's only royal commission, and was to stand as the pendant piece to Philippe-Jacques de Loutherbourg's ""Lord Howe's action, or the Glorious First of June"". This massive history painting measures x and was"
"Consequences of War Consequences of War, also known as ""Horror of war"", was executed between 1638-1639 by Peter Paul Rubens in oil paint on canvas. It was painted for Ferdinando II de' Medici. Although commissioned by an Italian, art historians characterize both the work and the artist as Flemish Baroque. It serves as a commentary on a European continent ravaged by the Thirty Years' War, and the artist employed numerous symbols, both contemporary and ancient, to deplore the state of the continent. Mars: Mars is the central figure in the composition. The Roman god of war charges with shield and"
"the French state, but after the fall of Napoleon in 1815 the French governments were not regarded as suitable for heroic treatment and many artists retreated further into the past to find subjects, though in Britain depicting the victories of the Napoleonic Wars mostly occurred after they were over. Another path was to choose contemporary subjects that were oppositional to government either at home and abroad, and many of what were arguably the last great generation of history paintings were protests at contemporary episodes of repression or outrages at home or abroad: Goya's ""The Third of May 1808"" (1814), Théodore"
"The War (Dix triptych) The War (German: ""Der Krieg""), sometimes known as the Dresden War Triptych, is a large oil painting by Otto Dix on four wooden panels, a triptych with predella. The format of the work and its composition are based on religious triptychs of the Renaissance. It was begun in 1929 and completed in 1932, and has been held by the Galerie Neue Meister in Dresden since 1968. It is one of several anti-war works by Dix in the 1920s, inspired by his experience of trench warfare in the First World War. Dix was an art student in"
"published his memoirs in 1806-07. George Romney, whose talent Cumberland encouraged, painted his portrait, which is in the National Portrait Gallery. Among his later comedies were: The other works printed during his lifetime include: His posthumously printed plays (published in 2 vols. in 1813) include: Aristophanes' ""Clouds"" (1798) William Shakespeare's ""Timon of Athens"" (1771) Philip Massinger's ""The Bondman"" and ""The Duke of Milan"" (both 1779). Richard Cumberland (dramatist) Richard Cumberland (19 February 1731/2 – 7 May 1811) was an English dramatist and civil servant. In 1771 his hit play ""The West Indian"" was first staged. During the American War of"
"and Panthea"" (1821) and ""A Midsummer Day's Dream"" (1824). He was a close friend and associate of the painter John Martin, whose well-known painting ""The Fall of Nineveh"" was produced in conjunction with Atherstone's poem. He also produced two novels, ""The Sea Kings in England"" and ""The Handwriting on the Wall"". The first one tells about the Viking invasion of England at the time of king Alfred the Great. Atherstone's plays were published posthumously by his daughter, Mary Elizabeth Atherstone in 1888. Edwin Atherstone Edwin Atherstone (1788–1872) was a poet and novelist. His works, which were planned on an imposing"
"group of three soldiers, one of whom has fallen in the snow, was taken from his painting showing the retreat from Moscow which was shown the following year. He was made a full member following the enormous success of his 1881 painting ""The Thin Red Line"" which was inspired by his reading of Alexander Kinglake's book ""The Invasion of the Crimea"". Three years later came ""Schoolmates"" depicting two highland officers in the heat of battle, one falling wounded into the arms of the other. In 1895 he was appointed Principal Curator of the National Gallery of Scotland, following the death"
"and social agitation had died down, he returned to his practice as a barrister, which he had deserted, and also wrote largely. He produced a number of novels, including ""The Maid of Warsaw"" and ""Woman's Wrongs"", also some poems, ""The Painter of Florence"",""The Battle Day"" (1855), ""The Revolt of Hindostan"" (1857), and ""Corayda"" (1859). Some of his lyrics, such as ""The Song of the Poor"", ""The Song of the Day Labourers"", and ""The Factory Slave"", were well known. He made several unsuccessful attempts to enter parliament and was about to contest Manchester, with the certainty of being returned, when he"
"child!"") is heard by the character Wehling, before he shoots himself in order to save his children. Ave Maria (Schubert) ""'"" (""'"", D. 839, Op. 52, No. 6, 1825), in English: ""Ellen's Third Song"", was composed by Franz Schubert in 1825 as part of his Opus 52, a setting of seven songs from Walter Scott's popular epic poem ""The Lady of the Lake"", loosely translated into German. It has become one of Schubert's most popular works, recorded by a wide variety and large number of singers, under the title of Ave Maria (after Ellen's song, which is a prayer to"