The Third of May: Narrative or Aesthetic?

The Third of May, by Francisco de Goya, is a very striking piece that conjures a story rather than being just an eye-pleasing photo. The scene is violent and intimidating with unarmed men cowering in front of a firing squad. But their dress, they are in an older time, during one of war or uprising. Most likely the latter because it is not a pose of soldier against soldier. The men with the guns are in battle gear, their guns in their arms, provisions on their backs and a saber at their sides. The people before them are in plain clothes, less neat and rudimentary as-if hand-made. Added to the sense of martyrdom is the pose of the illuminated man in the white and tan. He is almost Christ-like with his arms stretched out in supplication. The man fallen beside him is in a similar pose. Then, in the opposition of light and dark, created by overly-large lantern, the man in tan is cast in light while the soldiers are in the dark. The division of light and dark splits almost down the middle, creating an unnatural display of light for the lantern which should cast light in all directions.

The martyr and his people are also resting on a small rise in the landscape, raising them above the cowering crowd and at face-level with the soldiers, even though the victims are on their knees. Behind them rests a church with its bell tower and stain glass window. But everyone is outside, partially hidden from it by a small hillock, and the faces of the killers are hidden in the shadow and light, turned away from the audience. Many members of the crowd also have their faces covered. This is possibly a sign that this act is being hidden from the eyes of God/justice. The heavens are not even visible.. The stars and satellite are hidden by clouds. The only light offered is that made by the government (soldiers), representing that they control the situation and that they are the ones to see the “truth” of the situation. The soldiers are blinded by the light.

There is definitely a narrative created by the “artistic vocabulary” of the painting. Even without the background information of the piece, the audience can still discern some of the intent of the painter by analyzing the symbolism in their technique. In The Third of May, the soldiers are portrayed in an unfavorable light. Here, they are the evildoers and the citizens are the heroes, willing to die for their people.