Just prior to the latest COVID-related lock down in Melbourne, I managed to visit the exhibition of drawings and prints by Goya at the NGV. Although these works were produced 200 years ago, they are still relevant today.
Working at the time of the Enlightenment, and despite his status and reputation as a court painter, Goya still had to navigate the political oppression of both Spanish and French rulers, and the religious persecution in the form of the Inquisition.
His series of drawings and etchings reveal a very personal side to Goya’s work, combining allegory, satire, reportage, surrealism and the sub-conscience. The images provide a commentary on the horrors of war and its aftermath, while his domestic scenes on courtship, gold diggers and hapless suitors would not be out of place on Married at First Sight or The Bachelor… There’s a lot that’s familiar about these images.
The exhibition provide some insights into Goya’s working methods – from his use and development of preparatory drawings, to the different etching techniques he deployed to create the finished prints.
One drawing in particular caught my attention – a red crayon sketch entitled “Two People Looking into a Luminous Room”. It’s a remarkable image on a number of levels. The room of the title does not look like a typical building or structure. It almost resembles the bellows of a giant camera, except that photography had not yet been invented. Perhaps it refers to a type of camera obscura or similar device that Goya had seen? On the other hand, it could be a metaphor for Hell, a glimpse into the white heat of the Inferno. For me, it even suggests Goya’s prescience for the work of James Turrell. It’s a remarkable piece in an absorbing exhibition.
Next week: The Fall – always different, always the same