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mascot. Such festivals as the "Burial of the
Sardine" originated with themes of mortality: masks were worn to ward off the spirits of criminals and those who had died violently. The word "mortus" ("death") is barely visible on the banner though in a preparatory ink sketch by Goya (in the gallery below) it features prominently over an indistinct shape which may be a representation of the sardine itself. The painting forms a loose thematic set with other paintings of religious ceremony that Goya produced around the same time, among which are
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charge of each stance or gesture. We have arrived here at the perfect balancing point between the early tapestry cartoons and the later Black
Paintings. All the riotous gaiety of the former appeals to the eye from the surface of the painting. But in the darkening of the colors, in the masklike ambiguity of the faces... and especially in the overwrought gestures and expressions, one begins to feel the obscurely disturbing undertones of mass hysteria underlying the fiesta.
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is also one of the most astonishing virtuoso performances to come down to us from Goya's brush. Rarely did Goya again reach such decisiveness of touch. Every brushstroke is a calligraphic marvel at the same time that it describes with consummate precision the expression of faces and the emotional
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worship at church. Yet the celebration takes on a sinister aspect due to the many masked and blank faces (see the detail in "Gallery") surrounding the gaily dancing women in white; the grey, distorted trees and encroaching dark colours; and the eye-catching black banner that parades an unsettling
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75:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
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The painting has been dated between 1793 and 1819, but most accounts place it toward the end of this range on account of the painting's style and its place within the shifting themes of Goya's art as he aged.
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appears to fit within a progression beginning with the artist's bright, youthful works—in which he painted commissions of popular entertainments and colourful
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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Content in this edit is translated from the existing German
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expand this article with text translated from the corresponding articles in
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82.5 cm × 62 cm (32.5 in × 24 in)
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to the source of your translation. A model attribution edit summary is
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The
Victorious Hannibal Seeing Italy from the Alps for the First Time
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Paintings in the Real
Academia de Bellas Artes de San Fernando
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The title is posthumous, referring to the culminating event,
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The
Ministry of Time – Episode 25: Time of the Enlightened
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to this template: there are already 1,903 articles in the
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Consecration of
Aloysius Gonzaga as Patron Saint of Youth
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Museo Goya - Colección
Ibercaja - Museo Camón Aznar
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883:The Duke and Duchess of Osuna and their Children
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110:accompanying your translation by providing an
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400:Goya: The Origin of the Modern Temper in Art
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122:{{Translated|de|Das Begräbnis der Sardine}}
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736:The Madhouse
734:
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723:(after 1808)
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187:c. 1812–1819
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108:edit summary
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1692:(1942 film)
1675:Goya Awards
1631:(2006 film)
1623:(1999 film)
1615:(1999 film)
1599:(1971 film)
1591:(1971 film)
1583:(1958 film)
1558:Goya Museum
1542:Fuendetodos
1532:Fuendetodos
1473:(1815–1823)
1417:(1810–1820)
1399:(1810–1815)
1294:Men Reading
1287:Two Old Men
1280:La Leocadia
1223:The Wedding
1211:(1786–1787)
1147: 1777
1139:The Parasol
1105:(1825–1827)
1073:(1814–1816)
1057:(1810–1811)
1033:(1804–1805)
1001:(1799–1800)
985:(1798–1799)
959: 1795
904: 1788
895:The Red Boy
822: 1817
807: 1816
792: 1816
779:(1815–1819)
747:(1812–1819)
739:(1812–1819)
731:(1812–1814)
715:(1808–1812)
707:(1808–1812)
699:(1808–1812)
674: 1805
661:(1800–1805)
630:(1797–1798)
622:(1797–1798)
606:(1793–1794)
598:(1793–1794)
590:(1793–1794)
574:(1786–1787)
568:(1786–1787)
536:(1770–1771)
526: 1769
511: 1763
196:Oil on wood
1706:Categories
1620:Volavérunt
1572:Depictions
951:Charles IV
414:References
286:The Burial
274:Manzanares
230:(Spanish:
202:Dimensions
1504:(1824–25)
1448:(1815–16)
1369:(1797–98)
1225:(1791–92)
1203:(1786–87)
1170:The Swing
1157:(1778–79)
1017:(1800–18)
927:La Tirana
919:La Tirana
886:(1787–88)
878:(1783–84)
867:Portraits
829:Bullfight
814:The Forge
560:(1786–87)
495:Paintings
406:; p. 263.
126:talk page
78:Consider
1689:Goyescas
1681:Goyescas
1552:Zaragoza
1116:cartoons
1114:Tapestry
369:See also
266:carnival
210:Location
102:provide
1647:Related
1562:Castres
1521:Museums
1343:The Dog
1329:Asmodea
1322:Atropos
338:Gallery
238:artist
236:Spanish
155:Spanish
124:to the
106:in the
52:.
49:Spanish
1656:(wife)
1639:(2017)
1219:(1789)
1200:Summer
1195:(1786)
1187:(1786)
1181:(1780)
1173:(1779)
1165:(1779)
1134:(1775)
1097:(1823)
1089:(1820)
1081:(1815)
1065:(1812)
1049:(1805)
1041:(1805)
1025:(1801)
1009:(1800)
993:(1799)
977:(1797)
969:(1797)
946:(1795)
938:(1795)
930:(1794)
922:(1792)
859:(1774)
851:(1772)
840:Murals
832:(1824)
771:(1815)
763:(1814)
755:(1814)
638:(1798)
614:(1795)
582:(1787)
552:(1780)
544:(1772)
441:
427:
351:Detail
315:) and
278:pelele
248:Madrid
218:Madrid
192:Medium
174:Artist
45:German
386:Notes
246:, in
69:DeepL
1121:list
439:ISBN
425:ISBN
298:Lent
184:Year
100:must
98:You
47:and
325:).
250:.
71:or
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