Goya’s Spiral: A Journey Through Art

Written by Abby Tokar

Edited by Tiffany Ang

There are many outlets that exist in providing for a space for people to express their suffering throughout life, one of which being making art. Hardship and suffering are

inevitable in this world, and thus, need a way to manifest in order to have a channel

through which these experiences are able to healthily be dealt with. The human mind is

vast and incredibly sophisticated, offering us the opportunity to convey our feelings in ways

that might seem rather unconventional otherwise.

Art is one of the ways through which we are able to express our grievances, as well

as our blessings. Francisco Goya was a painter, but above all, a deeply troubled man; and an

incredibly talented artist. Many of his paintings dealt with themes of death and despair,

which he conveyed through various, fascinating ways. Do you know the saying “method to

madness”? Well, Goya definitely incorporated madness into his unique artistic methods. His

work often explored themes of darkness and despair, shedding light into the window of a

deeply troubled man’s soul.

Francisco Goya eventually went through a period presenting with various psychological disorders, including depression and hypochondria. One of his illustrations, Yard with Lunatics (1794), was constructed at a time of immense personal suffering for Goya. In 1793, Goya dealt with direct experiences of episodes of depression and illness, and his struggles eventually lead to his developing hearing loss. His deafness affected every aspect of his life, including his art. Goya’s depiction of this descent into darkness was, thus, personal to him. During the 19th century, the mentally ill were viewed as ‘insane’, and society’s treatment of those who were struggling with their mental health reflected this perception heavily. This work of art was created as a mirror of the scenes he had witnessed of mental institutions he had seen when he was young. Goya himself revealed that he created this series of paintings as a way to reflect his anxiety, fear, and self-doubt, fearing that he was ‘going mad’. Art critic Robert Hughes noted that this work was made at a time where psychiatric institutions were “no more than “...holes in the social surface, small dumps into which the psychotic could be thrown without the smallest attempt to discover, classify, or treat the nature of their illness.” In Yard with Lunatics, the figures are practically treated as inmates, huddled within high, gray walls in a dark bleak room. The treatment of the ‘insane’ was punitive, with fugitives depicted fighting, sitting, staring, laying, etc. There’s no hint of discipline or cleanliness, and the inkling of sunlight seen near the top of the painting represents a sharp contrast between the potential of the outside world and the darkness of the room below.

Goya’s “Black Paintings”, which were created after a major depressive episode in 1819-20 served as a stark reflection of his mental health at the time, as well as his outlook on humanity. This series of paintings was made directly on the walls of his house, and they were not meant to be seen by anyone beyond his circle of friends, which is important to keep in mind. Witches’ Sabbath (1798) was brought into life within a period of isolation for Goya, after he slowly withdrew from the public eye due to the torment of madness and physical distress, residing in solitude outside of Madrid. In this painting, we can see a depiction of witches, fantasy, and violence, all of which begin to appear in Goya’s artwork after he broke free from the shackles of being restricted by having to please his buyers, as he did in his portrait work. Satan is depicted here in goat form, preaching, surrounded by a coven of fearful witches. The women’s faces appear almost sub-human, emphasizing not only the spiral that Goya was journeying, but also a reflection of the struggle against oppression particularly in light of the Spanish Inquisition’s resurgence during this period. The dark background and the seemingly unembellished mountains serve to emphasize the scene of the witches and Satan, reinforcing the message Goya sought to express. This painting is a representation of Goya’s personal turmoil, as well as his disillusionment with society.

Francisco Goya was an extremely talented painter, who depicted his struggles with

his personhood and mental health through his art, a healthy and creative manner of

expressing hardship and strife. By taking a journey through his portfolio chronologically,

one can visualize the deterioration that he underwent, which is almost a beautiful feat, as

one is able to simply detail the struggles he went through and how it affected him just by

analysing his works, thoroughly. Art has always been an outlet for expression, whether that

expression be positive or distressing, and should always be encouraged as a means of

cathartic release of emotion and internalized feeling.

References

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“Goya’s Black Paintings Reflecting Mental Health.” Metol, www.metolmag.com/literature/goyas-black-paintings.

Pittman, Katie. “Inclination: An Art History Blog.” Inclination: An Art History Blog, 8 Feb.

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Sahu, Sahil. “Witches’ Sabbath — Francisco Goya Y Lucientes - Sahil Sahu - Medium.”

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“Witches’ Sabbath / the Great He-Goat, 1821 - 1823 - Francisco Goya - WikiArt.org.”

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