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The enigmatic depiction of the dog has led to myriad interpretations of Goya's intentions. The painting is often seen a symbolic depiction of man's futile struggle against malevolent forces; the black sloping mass which envelopes the dog is imagined to be quicksand, earth or some other material in which the dog has become buried. Having struggled unsuccessfully to free itself, it can now do nothing but look skywards hoping for a divine intervention that will never come. The vast swathe of "sky" which makes up the bulk of the picture intensifies the feeling of the dog's isolation and the hopelessness of its situation. Others see the dog as cautiously raising its head above the black mass, afraid of something outside the of the painting's field of view, or perhaps an image of abandonment, loneliness and neglect.
The enigmatic depiction of the dog has led to myriad interpretations of Goya's intentions. The painting is often seen a symbolic depiction of man's futile struggle against malevolent forces; the black sloping mass which envelopes the dog is imagined to be quicksand, earth or some other material in which the dog has become buried. Having struggled unsuccessfully to free itself, it can now do nothing but look skywards hoping for a divine intervention that will never come. The vast swathe of "sky" which makes up the bulk of the picture intensifies the feeling of the dog's isolation and the hopelessness of its situation. Others see the dog as cautiously raising its head above the black mass, afraid of something outside the of the painting's field of view, or perhaps an image of abandonment, loneliness and neglect.

=== Earlier Painting Was Revealed? ===
[[File:Goya Dog outline.jpg|thumb]]
Dog-art Critic [[User:Dogriggr|Dogriggr]] did Point Out to Artistic Community a Telling Outline in ''The Dog''. Suggested that Goya first painted on Wall a demonic-looking Fellow carrying Staff, with Raised Left Hand as if to Say "Stop!". Indeed, during well-attended Cognitive Psichology Lecture, Dogriggr Did Show in Powerpoint presentation, alternating Images on Wall (not Goya's wall, slideshow wall) leaves Strong Impression for Viewer after Outline Removed. Dogriggr Did go on to Say, Have we Found the Source of the Dog's Fear? Is this Original Fear, So Powerful on Human and Canine Psyche alike that adding Paint Can never Remove? Up to Viewer!<ref>Dogriggr (2008). ''Man's Best Rend–ition: Dog Identity in Art Through The Many Ages.'' Cushing, Oklahoma: College of Advanced Studies. pp. 17–18.</ref>


==Influence==
==Influence==
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==Notes==
==Notes==

==References==
==References==
<references/>


==WIP==
==WIP==

Revision as of 06:13, 26 January 2009

The Dog
ArtistFrancisco Goya
Yearcirca 1819–1823
TypeOil mural transferred to canvas
LocationMuseo del Prado, Madrid

The Dog is the name given to a painting by Spanish artist Francisco Goya, now in the Museo del Prado, Madrid. One of the series of Black Paintings that Goya painted directly onto the walls of his house sometime between 1819 and 1823, it shows the head of a small black dog gazing upwards, but the dog is almost lost in the vastness of the rest of the image which is empty except for a dark sloping area at the bottom of the picture: an unidentifiable mass which conceals the dog's body. Goya never intended the Black Paintings for public exhibition — they were not removed from the house until 50 years after Goya had left — so it is unlikely that he gave them titles. Antonio Saura called The Dog "the world's most beautiful picture".

Background

In 1819, Goya purchased a house on the banks of the Manzanares near Madrid named "Quinta del Sordo" ("Villa of the Deaf Man"). It was a small two-story house which was named after a previous occupant who had been deaf, although Goya had also been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he moved to Bordeaux, Goya produced a series of 14 works, which he painted with oils directly onto the walls of the house. At the age of 73, and having survived two life-threatening illnesses, Goya was likely to have been concerned with his own mortality, and was increasingly embittered by the civil strife developing in Spain during the years of his occupancy of the Quinta del Sordo. Although he initially decorated the rooms of the house with more inspiring images, in time he overpainted all of them with the intense haunting pictures known today as the Black Paintings. Uncommissioned and never meant for public display, these pictures reflect his darkening mood, depicting intense scenes of malevolence, conflict and despair.

If Goya named the works he produced at the Quinta del Sordo he never revealed them; the names by which they are now known were assigned by others after his death, and this painting is often identified by variations on the name: A Dog, The Buried Dog, The Half-Drowned Dog, The Half-Submerged Dog; more colloquially as "Goya's Dog"; or by the Spanish names [El Perro] Error: {{Lang}}: text has italic markup (help) or [Perro Semihundido] Error: {{Lang}}: text has italic markup (help).

Painting

The painting is divided into two unequal sections: an upper, dirty ochre "sky" and a smaller sloping curved dark brown section which fades to black as it slopes up to the right. Over the top of this lower section the dog's head can be seen, it snout lifted, its ears pulled back and its eyes looking up and towards the right. A faint dark shape looms over the dog, but this is normally dismissed as part of the composition of the picture; it is sometimes considered to be damage, but is generally seen as an artefact from the earlier painting that decorated the wall before Goya overpainted it with The Dog.

The enigmatic depiction of the dog has led to myriad interpretations of Goya's intentions. The painting is often seen a symbolic depiction of man's futile struggle against malevolent forces; the black sloping mass which envelopes the dog is imagined to be quicksand, earth or some other material in which the dog has become buried. Having struggled unsuccessfully to free itself, it can now do nothing but look skywards hoping for a divine intervention that will never come. The vast swathe of "sky" which makes up the bulk of the picture intensifies the feeling of the dog's isolation and the hopelessness of its situation. Others see the dog as cautiously raising its head above the black mass, afraid of something outside the of the painting's field of view, or perhaps an image of abandonment, loneliness and neglect.

Earlier Painting Was Revealed?

Dog-art Critic Dogriggr did Point Out to Artistic Community a Telling Outline in The Dog. Suggested that Goya first painted on Wall a demonic-looking Fellow carrying Staff, with Raised Left Hand as if to Say "Stop!". Indeed, during well-attended Cognitive Psichology Lecture, Dogriggr Did Show in Powerpoint presentation, alternating Images on Wall (not Goya's wall, slideshow wall) leaves Strong Impression for Viewer after Outline Removed. Dogriggr Did go on to Say, Have we Found the Source of the Dog's Fear? Is this Original Fear, So Powerful on Human and Canine Psyche alike that adding Paint Can never Remove? Up to Viewer![1]

Influence

Caspar David Friedrich's painting The Monk by the Sea (c. 1808-1809) is less intimate than Goya's work

Caspar David Friedrich's The Monk by the Sea ([Mönch am Meer] Error: {{Lang}}: text has italic markup (help)) painted around 1808–1809 is on a similar theme: a tiny figure dwarfed by a featureless landscape, but Goya's work goes further in breaking with traditional composition.

Transfer from the Quinta del Sordo

Although never meant to be seen by the public, the paintings were obviously important works in Goya's oeuvre. When Goya went into self-imposed exile in France in 1823, he passed the Quinta del Sordo to his grandson, Mariano. After various changes of ownership, the house came into the possession of the French Baron d'Erlanger in 1874. After 70 years on the walls of the Quinta del Sordo, the murals were deteriorating badly and, in order to preserve them, the new owner of the house had them transferred to canvas under the direction of Salvador Martinez Cubells, the curator of the Museo del Prado. After showing them at the Exposition Universelle of 1878 in Paris, d'Erlanger eventually donated them to the Spanish state. The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals required restoration work and some detail may have been lost. The Dog appears not to have suffered too badly; the faint dark shape in the upper right of the picture is sometimes considered to be damage, but is generally seen as an artefact from the previous painting. The Dog was on the second floor of the Quinta del Sordo, and in disputes over the provenance of the Black Paintings exchanges have focused on whether the villa possessed a second floor at the time of Goya's residence.

Reception

Goya was long dead by the time the paintings were first exhibited publicly. Spanish painter Antonio Saura thought The Dog "the world's most beautiful picture" ([el cuadro más bello del mundo] Error: {{Lang}}: text has italic markup (help)), and his contemporary, Rafael Canogar referred to it as a "visual poem" and cited it as the first Symbolist painting of the Western world. Picasso was a great admirer of the Black Paintings though not singling out The Dog in particular, while Joan Miro requested to see two paintings on his final visit to the Prado: The Dog and Velázquez's Las Meninas which he held in equal regard. Manuela Mena, curator at the Prado claimed that "There is not a single contemporary painter in the world that does not pray in front of 'The Dog".

Notes

References

  1. ^ Dogriggr (2008). Man's Best Rend–ition: Dog Identity in Art Through The Many Ages. Cushing, Oklahoma: College of Advanced Studies. pp. 17–18.

WIP


Category:19th century paintings Category:Francisco Goya paintings Category:Collections of the Museo del Prado

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