Two Monks. GOYA Y LUCIENTES, Francisco de (1746-1828)
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Two Monks. GOYA Y LUCIENTES, Francisco de (1746-1828)
GOYA Y LUCIENTES, Francisco de (1746-1828). Two Monks. An old and deaf monk leaning on his stick
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Media ID 8260317
© Mary Evans Picture Library 2015 - https://copyrighthub.org/s0/hub1/creation/maryevans/MaryEvansPictureID/10208492
1746 1828 Deaf Francisco Goya Leaning Lucientes Monk Monks Stick Aisa
EDITORS COMMENTS
Two Monks" is a poignant and evocative painting by the renowned Spanish artist Francisco de Goya y Lucientes, created in 1828. This masterpiece, now a cherished part of art history, captures the essence of aging and the passage of time through the depiction of two monks. The older monk, with his wrinkled face and hunched posture, leans heavily on his wooden staff, his expression a mixture of weariness and resignation. The younger monk, with a look of concern and compassion, supports his elder companion, their hands gently touching. The contrast between their ages and their shared bond creates a powerful sense of empathy and human connection. Goya, known for his innovative techniques and socially critical art, masterfully uses light and shadow to create depth and texture in this work. The muted colors and rough brushstrokes add to the painting's raw and authentic feel, making it a testament to the human experience. This painting, "Two Monks," is a reminder of the natural cycle of life and the importance of companionship and support in the face of adversity. It is a poignant reflection of the human condition, and a testament to Goya's unparalleled artistic vision and skill. Francisco de Goya y Lucientes, born in 1746, was a Spanish painter and printmaker, considered the last of the Old Masters and an early modern artist. He is renowned for his innovative techniques and socially critical art, and his works continue to inspire and captivate audiences around the world. This painting, "Two Monks," is a prime example of his mastery of the human form and his ability to evoke deep emotions through his art.
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