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Saturn
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Saturn
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Saturn with the sign of Capricorn
Oil on canvas. XVI century
Facchetti, Pietro
Saturn with the sign of Capricorn
Oil on canvas. XVI century
Facchetti, Pietro

The life-sized figure that represents the planet Saturn holds a scythe in his hands. Behind him, a fragment of the Zodiac bears the sign of Capricorn. At the left, a winged figure leans on the Zodiac´s ring and gazes upwards.This painting and its companions (P306 to P312) are copies of cartoons for the mosaics at the Chigi Chapel in the Roman church of Santa Maria del Popolo. Those cartoons were m

Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco
Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco

Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came about under the influence of Antonio González Velázquez (1723-93), who visited Zaragoza soon after returning from Italy in 1752, carrying models and drawings by his Italian

Allegory of the Education of Philip III
Oil on canvas. Ca. 1590
Tiel, Justus
Allegory of the Education of Philip III
Oil on canvas. Ca. 1590
Tiel, Justus

Philip III (1578-1621) was the son of Philip II and his fourth wife, Anne of Austria. Tiel portrays Philip while he was heir to the throne. He is depicted standing, full-length, and wearing an elaborate suit of Milanese armour and a helmet. Like Hercules at the Crossroads, he must choose between Virtue and Vice, helped by Chronos who pushes Cupid away while bringing the figure of Virtue closer to

Saturn devouring a Son
Oil on canvas. 1636 - 1638
Rubens, Peter Paul
Saturn devouring a Son
Oil on canvas. 1636 - 1638
Rubens, Peter Paul

Portrayed as an old man in accordance with the conventional method that was faithful to prevailing iconographic precepts, in his right hand the god Saturn clasps a scythe, his inveterate attribute, using it to steady himself. At the same time, with impressive bestial energy, he leans over a boy, into whom he sinks his teeth to devour him, while the defenceless creature attempts to kick himself fre

Temple of Saturn, Roman Forum
Salt paper on photographic paper. 1848 - 1852
Anonymous
Temple of Saturn, Roman Forum
Salt paper on photographic paper. 1848 - 1852
Anonymous

Temple of Saturn, Roman Forum
Salt paper on photographic paper. 1848 - 1852
Anonymous
Temple of Saturn, Roman Forum
Salt paper on photographic paper. 1848 - 1852
Anonymous

Time Devouring Men
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de
Time Devouring Men
Red chalk on laid paper. Ca. 1797
Goya y Lucientes, Francisco de

Red chalk over a preliminary outline drawing in black chalk, on laid paper. The figure in this drawing has traditionally been identified as the god Saturn -in Greek mythology, Kronos, or Time-who devoured his newborn sons to prevent future challenges to his power. Here, however, the old man does not eat children but rather adult men whom he has stripped and disarmed, as indicated by the clothes an

Allegory of Francesco I de’Medici
Alabaster. 1560 - 1561
Giambologna (Giovanni Da Bologna)
Allegory of Francesco I de’Medici
Alabaster. 1560 - 1561
Giambologna (Giovanni Da Bologna)

The protagonist of this relief is Francesco de’Medici (1541-1587). His is the figure at the right, whom the gods´ messenger, Mercury, leads by the hand, towards a female figure that has been identified as an embodiment of the city of Florence. On the left of the composition are diverse mythological and allegorical figures, including a fluvial personification who probably represents the Arno River.

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