Group-balcony Francisco Jose De Goya y Lucientes (1746-1828)
Francisco Jose De Goya y Lucientes – Group-balcony
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Painter: Francisco Jose De Goya y Lucientes
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Goya’s best creations combined two beginnings, the realistic and the fantastic. He constantly turned to the vivid image of the maja. It is a typical Spaniard, a simple girl. We see two beauties who are dressed in the national costumes of the modern era painter. The Mahis preferred to wear exactly that, quite simple clothing. The fashion of France was accepted in high society. Right behind the girls one can discern the figures of their cavaliers. The painter uses incredibly colorful colors for the outfits.
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Description of Francisco de Goya’s painting "Mahi on the Balcony"
Goya’s best creations combined two beginnings, the realistic and the fantastic. He constantly turned to the vivid image of the maja. It is a typical Spaniard, a simple girl. We see two beauties who are dressed in the national costumes of the modern era painter. The Mahis preferred to wear exactly that, quite simple clothing. The fashion of France was accepted in high society. Right behind the girls one can discern the figures of their cavaliers.
The painter uses incredibly colorful colors for the outfits. The faces are painted with colors of warm tones. Goya’s painting impresses with subtle shimmers that are enhanced by the dark background.
Two girls are seated on a balcony. From here they observe the bustling street life. They look like two captured birds that have been placed in a cage against their will. This subject was typical of Goya’s modernity. But it introduces a certain uneasiness. The figures of the two men can be discerned in the background. They are wearing dark clothes. Their hats are practically over their eyes, and they are wrapped in cloaks.
Goya paints their figures only as indistinct silhouettes. They practically merge with the gloom that surrounds them. One has the feeling that they are not human beings, but only shadows, trying to catch the charms of youth. But the mahi themselves, are also in cahoots with them. Their smiles are indeed conspiratorial. They seem intent on luring those attracted to their delicate beauty into this frightening darkness. This Goya creation is still filled with light. But it already becomes a harbinger of the tragedy that characterizes the later period.
The artist always liked genre painting. That’s why he chose such a subject for his canvas.
His painting is expressively expressive. Goya is not just depicting a scene from life. He tries to penetrate into the very essence of the phenomenon. Color is concentrated as much as possible. Contrast of tones allows to achieve a generalization, conveyed in a concise form.
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Behind them stand two figures shrouded in shadow and wearing distinctive headwear. The man on the left is partially visible, his face obscured by the brim of his hat, while the figure behind him is almost entirely swallowed by darkness. Their presence contributes to a sense of unease and mystery, suggesting they are witnesses or participants in whatever event holds the women’s attention.
The color palette is muted, dominated by dark greens and browns that contribute to an atmosphere of gloom and secrecy. The limited use of light focuses primarily on the faces of the two women, drawing the viewers eye to their expressions and emphasizing their central role within the scene. The background remains largely indistinct, further intensifying the sense of mystery surrounding what lies beyond the balcony.
The painting’s subtexts are complex and open to interpretation. It is possible that the work explores themes of voyeurism and social observation, with the women acting as representatives of a privileged class observing an event from a safe distance. The obscured background could symbolize the unknown or the unsettling aspects of reality that lie beyond societal boundaries. The figures in shadow might represent authority or those who control access to information, further reinforcing the sense of power dynamics at play. Ultimately, the painting invites contemplation on the nature of observation, the complexities of human behavior, and the potential for both fascination and discomfort when confronted with events outside ones immediate experience.