Comparative Study

By: Mary Verkuilen

Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849
"Yard with Lunatics", Francisco de Goya, Oil on Canvas,1793-94 Francisco de Goya-"The sleep of reason produces mo
sueño de la razón produce monstruos "- 1799

In the following comparative study, I will be examining the work of Gustave Courbet, a painter
known best for his work in Realism, and Francisco de Goya, a morbid Romanticism artist. I will
be analyzing the artists' portrayal of human suffering in regards to their cultural backgrounds,
and discuss how their experiences influenced their use of line, color, and form. Additionally, I
will be referring to my own artwork inspired by each of these artists, and examine the
commonalities within each of these pieces.
Cultural Significance: Gustave Courbet

Beaux-Arts, Nantes.
Courbet, The Wheat Sifters (1854-5) Oil on canvas. Musée des
Growing up in Ornas, France, Courbet's work was criticized due to its deviance of the standards enforced by the Académie des
Beaux-Arts, who saw art as a discipline that deserved a place among other advanced forms of human learning. This academy
was an influential force within the mid nineteenth century, deeming artwork as acceptable through its incorporation of
simplicit grandeur, harmonious hues, and clean lines. It furthered its grasp on the art world through establishing the Salon, an
annual public exhibition that took place in the Louvre. As exhibitions were rare, the only way to witness new artwork was
through attendance, which popularized the Salon and made acceptance essential for the careers of professional artists.

Gustave Courbet's rejection of academic convention encouraged the founding of the Realism movement. Following the 1848
French revolution, this movement sought to reject the exotic subject matter and exaggerated emotionalism of the prior
Romanticism movement, which had dominated French literature and art since the late 18th century. As an artist, Courbet's
distaste with the strictures of the Académie des Beaux-Arts inspired his own realm of art, focusing on the concrete reality of
the Fair"/1855/ Oil on Canvas/ [Link]
Gustave Courbet/ "The Peasants of Flagey Returning from

objects and refusing to suppress any imperfections present in the form. Specifically, his focus on ordinary individuals took
reference from a visit to his hometown of Ornas, where he witnessed the bold work ethics of peasants in the countryside,
inspiring him to deviate from the idealized portraiture encouraged in France and instead portray the life and emotions not of
aristocrats but of humble peasants. Though harshly criticized for his depictions of "ugly people from the countryside", that
being the figures in "The Wheat Sifters", or dispelling viewers appreciation of the countryside in relation to "The Peasants of
Flagey Returning from the Fair", Courbet's admiration for the working class in relation to his aversion to the preferred subject
matter of the Académie encouraged a number of controversial work that strengthened his career. In relation to his peasantry
depictions, the lack of glorification upon their situation, a common practice within other labor-central artwork, as well as the
substantial dimensions typically reserved for historical paintings contradicted these preferences.
 Function and Purpose: Gustave Courbet
The Stonebreakers was created in 1849 by Courbet's piece serves as a contradiction to
Gustave Courbet as a statement of the the more commonly used idealization of
the working class, often portraying the
laborious reality experienced by the lower
figures as proud and hardworking in their
class. He depicts two individuals that environment as opposed to Courbet's
appear of unhealthy ages to be completing more honest depiction of the futile
such vigorous labor; the upright posture and conditions. The stark contrast between their
healthy glow of the gentlemen on the left ages is used as an accurate account of the
implementing his youth with the withered abuse and deprivation that was a common
and hunched over position of the feature of mid-century French rural life.,
being that, if you were healthy enough to
gentlemen on the right indicates his elderly
work despite of age, you were expected to
age. Here, Courbet emphasizes the do so. Their simplistic tools further
burdensome conditions these laborers emphasize their work as a punishment,
endure through the harsh lighting being their work situation as a stonebreaker
accentuating the creases on their muddied was a common punishment for criminals.
clothing, their faces turned away from the Courbet's piece, rather than heroicizing
direct lighting highlighting the harsh these individuals, offers sympathy to the
conditions in which they endure, providing
temperature in which they work. Their
a truthful outlook on the lives of laborers,
hidden faces also provide a sense of and emphasize their positions as being
submission and dedication to the task at ones of burden rather than joy. Being that
hand, the perspective of the viewer the mid-nineteenth century served as the
appearing as an overseeing force watching end of the industrial revolution, their tools
over their every movement. Behind them, offer a sense of cruel irony, using the
a large hill shields them from the sky with Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849 working class as tools of heavy labor
despite the more efficient, and less
the exception of a small corner. This effect inhumane gadgets.
stresses the isolation of the gentlemen, His depiction also serves as an example of
suggesting by their environment they are Courbet's refusal to comply to the art
not only physically trapped, but also are standards in his country, being that the
unable to overcome financial burdens, imagery used would rarely receive much
making them economically trapped as well. attention.
 Formal Qualities: Gustave Courbet
Courbet's use of scattered lines among the Here, a large mountain severs the background,
visible skin of the keeling man emphasizes allowing only a sliver of sky to be visible within
his elderly age. In regards to the gentlemen the piece. This element emanates a feel of
on the left, Courbet's limited use of selective isolation, illustrating the workers as
distinctive lines as well as smooth, pale hues apart from the rest of their environment.
demonstrate this gentlemen's youth. The use Regarding their portrayed status, the mountain
of their contrasting ages, both being of is symbolic of their financial burdens
inhumane ages to endure such difficult labor, separating them from the rest of the world,
gives off a sense of cruelty towards the emphasizing their economic and social
overall composition, and stress the isolation
strenuous conditions endured by the
working class.

The worn, wrinkled texture of these

The intense value placed on the forms of gentlemen's trousers stress their lower-class
each gentlemen imply the harsh, direct status, their simplistic composition differing
sunlight endured during the course of their from the gaudy and elegance typically
labor. Courbet's use of roughly layered hues reserved for nobility. The scattered lines
constituting the background botany implies composing their garments make them appear
the blistering temperature, their warm tones threadbear, indicating the stress placed upon
implicative of their drouth. The cruelty of the the fabric through systematic labor. This is
worker's conditions is furthered by clothing Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849 furthered through the differing hues between
engulfing their forms, the longer sleeves of the patch of fabric on the individual's knee,
their pants and shirts appearing as protection In general, the unique detail per individual makes them discernibly separate from one implying the frequent pressure placed upon
from the conditions of their environment, another. This idea disrupts any intention of unity between the figure, resulting in emphasis the garment as a result of continuous labor.
though contributing to the experienced heat. on their individuality through their discerning appearances., and furthers Courbet's intention
of depicting authentic reality.
 Cultural Significance: Francisco de Goya

Family"/1800-01/Oil on canvas/[Link]
Francisco de Goya/"Charles IV of Spain and His
Originating in mid-eighteenth century Spain, Francisco de Goya's artistic career took inspiration from the prevalent
Romanticism movement. Rejecting the precepts harmony, rationality, and idealization led to the development of this
movement, viewing art as a way to emphasize sense and emotions as important means of understanding and experiencing the
world. It embraced individualism as well as deviation from logical thought, and lacked specific rules regarding the subject
matter. Goya's earliest work, which tended to depict prominent figures adorned in their finest, tended to hint at Romantic
concepts, specifically in relation to the political climate of his country. Though considered a wealthy, well-respected citizen, his
portrayals of this class were deemed as containing a subtle mockery of those in power, such as emasculating the king in
"Charles IV of Spain and His Family" by centralizing his wife while insinuating the dysfunctional aspects of the royal family.
More notably, his work served to illustrate the precarious state of monarchs throughout Europe as a result of the countless

Francisco de Goya/"Witches' Flight"/1798/Oil on canvas/[Link]

revolutions.

Upon reaching the later stages of his life, Goya's health became compromised by both an unknown illness and a loss of
hearing, resulting in a digression from his prior subject matter, and placing further emphasis on harsh, twisted emotions that
furthered the founding ideals of the Romanticism movement. This newfound pessimistic attitude Goya had towards his own
situation was only strengthened through his encounters with both religious and political disputes occurring in his country as
seen in "Witches Flight".

During the mid-eighteenth century, the Catholic church had a powerful influence in Spain, often carrying out witch hunts and
cruel punishments in the name of religion. Several of Goya's pieces included the incorporation of negative religious symbols to
stress his distaste towards their acts of sexual abuse, greed, and overall [Link] than critiquing the concept of
witchcraft itself, the role of these witches seen tormenting the figure are hinted at through the patterned headdresses called
corozas, which were used as a symbol of guilt by the Spanish Inquisition. In general, Goya's later work, which tended to use this
sort of morbid imagery, stressed his fear for both his and his country's health.
 Function and Purpose: Francisco de Goya
In "Yard with Lunatics", Goya provides a In general, Goya's piece serves as a
morbid yet somewhat accurate depiction of demonstration of his deeply disturbing
the conditions experienced by occupants of visions of suffering and barbarity, marking his
insane asylums within the mid-nineteenth digression from a commissioned portrait
century. Demonstrating a desolate, decaying painter into an artist who pursued his bleak
structure, Goya's piece takes inspiration from perspective of humanity. Though this piece
the asylums prevalent within this time period took inspiration from scenes of institutions in
in which these facilities were nothing more Zaragoza witnessed by Goya in his youth, his
than a dumping ground for the criminally compromised health inspired his use of bleak
insane, lacking any sort of medical treatment hues and desolate figures. Furthering this
or diagnosis for the tenants. The general inspiration, the figures in Goya's piece
opinions of those with minimal sanity were express societal isolation, as emphasized
seen as burdens upon society, often through the celingless structure surrounding
criminalized by the government. This idea is them in the courtyard, making the facility
stressed by Goya's usage of the fighting appear more as restrictive barrier as opposed
inmates central in the piece, in which their to a place of refuge. Goya's compromised
harsh, nude compositions in relation to the health in relation to this piece emphasizes a
emphasized brutal force used against one shared feeling of societal isolation influenced
another illustrates their unstable, deranged by a declining mentality. The use of these
nature often associated with the mentally ill. isolated, morbid figures stresses a harsh
The facility is depicted as lacking order or interpretation of fear and loneliness, which
having any controlling force providing a safe emphasizes the distress felt by Goya in
environment for the inmates; the only relation to his own internalized
present authorial figure, whose neatened and complications. His perspective on his
clothed appearance deviating from the declining mentality inspires a sense of
crazed nudists, lacks conviction. His terrified connectedness to these figures, however the
expression contradicts the brutality of his depiction of their isolation in relation to their
interference, his right hand clutching what lack of stability stresses the fear felt by Goya
appears to be some sort of punishment in relation to his own experiences.
device in attempt to prevent this brawl from
continuing. "Yard with Lunatics", Francisco de Goya, Oil on Canvas,1793-94
Formal Qualities: Francisco de Goya In relation to the facility's containment of unhinged
individuals, Goya stresses the abuse experienced by
the occupants through the implication of
unwarranted actions of authorial figures. Here, Goya
Here, Goya uses bright, pearlescent hues emerging adorns this individual in bold, immaculate garments
from the ceilingless facility that contrast with the that dictate his role as a warden or guard in the
plain, darker shades that constitute both the facility facility, his fully clothed form contrasting with the
and the occupants. Serving as an implication of the semi-nude inmates, implying some sort of
courtyard hosting the inmates, the use of these privilege. The coarse lines constituting his abrasive
colors stresses the differing environments between facial expression suggest his vitriolic intentions; the
the cheerful outside world and the dismal asylum, emphasis placed upon the weapon clutched in his
furthering the pitiful nature of their situation. hand stresses his intended use upon the fighting
Additionally, the gradation of this light source inmates.
among the composition of the structure forces a
sickly pallor upon the inmate's composition,
resulting in a physical implication of their rampant
mental illnesses.

The centrality of these combative figures illustrates

their significance among the piece's composition.
Their blunt nudity contrasts with the mostly
Goya's use of thick, scattered lines that constitute clothed figures surrounding them, which causes
the from of each figure alludes the physical their belligerent actions to appear almost
ailments resulting from the abuse and negligence animalistic and unhinged. Though the combination
by those in charge. Though these lines act as of green and brown hues with the scattered lines
implications of muscular definition, as seen in the cause the figures to appear sickly, these figures are
rugged texture of this gentleman's arms, the presented as being built significantly larger than the
unorthodox application combined with the lurid rest of the inmates, stressing their dominance
hues make the figures appear weak and sickly. among the facility.

"Yard with Lunatics", Francisco de Goya, Oil on Canvas,1793-94

Function and Purpose: Francisco de Goya
"The sleep of reason produces monsters" is the Upon publishing, Goya provided a caption for
forty third print in Goya's "Los Caprichos" series. this piece reading, "Imagination abandoned by
Recognized as the most well-known print of the reason produces impossible monsters; united
eighty-piece series, it serves to summarize the with her, she is the mother of the arts and source
entirety of the series, which explores the of their wonders." Though this statement
consequences resulting from the removal of appears as a complication of the piece's
logic and reason. In this piece, Goya illustrates a message, it stresses Goya's belief that
figure resting their head on a writing desk, imagination should not be completely
presumably asleep, surrounded by an unusual renounced in favor of logic. Thus, these
variety of animals. Based on the title, it has been monsters are the product of the abandonment
presumed to represent Goya's submission to the of imagination, serving as symbolic
values of the Enlightenment-a philosophical representations of negative traits. On the top
movement prevalent in the eighteenth century right, Goya uses bats for ignorance, owls for
that centered around the idea that reason is the death and darkness, and a vigilant lynx for lies
primary source of legitimacy and authority, and and deception. Their populations appear to
was a strong advocate for the separation of overwhelm the figure, suddenly presented with
church and state. Given Goya's own dislike over unusual forces with vague intentions. It plagues
the methods and punishments administered by the question whether these creatures mean to
the church, as indicated by his negative threaten the individual's life, or whether his
depictions of religious figures, this piece slackened grip on reality blesses him with a
emphasizes his disdain over the "illogical" beliefs liberating power that allows him to see what is
of a faith, which were used as guides for much of not visible to those lacking this ability. It was
their decisions. The use of sleep, specifically that believed that this depicted individual was none
of reason, indicates a period of vulnerability that other than Goya himself, the explored concepts
strengthens the threat of "monsters", or the reflective of his own experiences in which he
consequences resulting from a society dictated feels overwhelmed by his imagination and
by an unbalanced use of reasoning and mentality.
imagination.

Francisco de Goya-"The sleep of reason produces monsters

(El sueño de la razón produce monstruos) "- 1799
Formal Qualities: Francisco de Goya
Goya's use of space provides asymmetrical balance Here, Goya illustrates the appearance of the bat
to the piece. The left side, consisting of a large gap using a variety of small etch lines that, upon the
upon the top, contrasts with the overwhelming consistent layering, darkens the figure's appearance.
populations of creatures surrounding the individual. This deviation from the paler hues placed upon the
This is indicative of the importance of the right side, other figures causes a contrast between this element
in which the arrival of the creatures are more and the piece's overall composition. Additionally, the
common here. Symbolically, a figure associated with harsh, angular structure of this creature digresses
this side is believed to hold higher power, being in from the soft, organic lines provided upon the form
relation to the past traditions with monarchies in of the other creatures. In relation to it's darker hues,
which the royal family required their subordinates to it stresses the threatening nature of the animal,
only use their left hand. In relation to this piece, the further supported through its much larger
indication of the creatures' arrival from the right appearance.
stresses the power they hold, furthering the
vulnerability of the individual they visit.

Goya also places heavy emphasis on the eyes of the

creature; the exaggerated dimensions in relation to
Here, Goya continues his use of contrast to their simplicity that contrast with the layered lines of
emphasize this individual's deviation from the the rest of their form stress this idea. In relation to
creatures surrounding him. His use of long, limited the unconscious form, whose eyes are not visible to
lines brightens the form of the figure, limiting the the viewer, it suggests the individual "sees" through
texture of their garments as being simplistic and the eyes of the depicted creatures, in other words,
smooth. The bright hues composing their form that through that of illogical and imaginative thought.
digress from the dark, dimmer hues of the creatures Additionally, the prominence of these features
appear to indicate the individual's vulnerability to threatens the viewer, indicating that it is them who is
their environment, providing a sense of innocence being watched, specifically proven by the forefront
that lack in the menacing appearance of the stare of the figure here.
creatures.

Francisco de Goya-"The sleep of reason produces monsters (El

sueño de la razón produce monstruos "- 1799
Comparing Courbet and Goya's Work
The imagery within each of these pieces revolve around their shared theme of human suffrage. Demonstrating situations
relative to each artist's encounters, both pieces serve as social statements towards the unlawful treatment of minorities. In

"Yard with Lunatics", Francisco de Goya, Oil on Canvas,1793-94

Courbet's piece "The Stonebreakers", he focuses on the working class by portraying two impoverished individuals engaged in
harsh physical labor. Goya relates his piece to a different group, this being the mentally unstable, whose current suffrage is
brought by a mix of cognitive and physical abuse. Both artists also rely on using harsher value to stress the brutality of these
conditions. For Courbet's piece, the fluorescent hues upon each figures back regards the brutality of the temperature, and further
accentuates the textured garments that brand their peasantry. Similarly, Goya uses value to accentuate the composition of the
figures, the distribution of these fluorescent hues providing emphasis on the disturbing array of lines constituting the weakened
forms of each figure. However, both artists use the paler hues to provide a stark contrast between the outside world, being the
majority, and their personal prison, this being their societal statuses. Goya's depiction of a prison not only presents their physical
isolation, but also acts as a metaphor for their inability to escape from their mental instability. Courbet's piece, though portrays
the figures in an open environment, shields much of the background with a mountain to stress their isolation as well. In relation
to their thematic values, both artists express this general ideas of neglect brought on by a higher power. The barbarity of these
figures' physical environments are hinted at being not of their choosing, whether it's through the prisoner-reserved task of
breaking stones, or the depiction of a gentleman whose clothed form cites him as of higher power.

Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849

In general, both pieces serve as explorations of the social issues that are significant to each artist's
morals in relation to their life experiences. For Courbet, his desire to depict figures realistically
stemmed from his insistence that "Realism is a democratic art". Thus, he focused his attention on the
humble working class, refusing to romanticize or belittle their situations, instead presenting them as
equals through an absence of compositional alterations. Additionally, the bluntness of these figures
serves as a subtle critique over the struggles of the working class, given the honesty of the situation
lacks any crude detail to stress this idea, which brings forth attention to the cruelty of their situation.
In turn, Courbet's piece provides an honest representation of individuals he himself feels closest to
due to his own mental instability. Though metaphorical in its containment of insanity, this depiction
of the asylum offers insight on the cruelty provided by insane asylums within this time period, given
the abuse inflicted by the guard and the absence of proper facilities contribute to this ill-treatment.
 Comparing Courbet and Goya's Work

Francisco de Goya-"The sleep of reason produces monsters (El sueño de la razón produce
In general, the greatest commonality between Courbet's piece "The Stonebreakers" and Goya's piece "Los Caprichos-The sleep
of reason produces monsters" is their shared theme of human suffrage. Within each piece's composition, the conflicts in which
the figures endure are implied to be brought on by a punishing external force. In Courbet's piece, the task of stone-breaking is
reserved for prisoners, often individuals who belong to a lower economic class. In Goya's piece, the array of creatures disturbing
the sleeping individual are symbolic of negative character traits that are brought on upon this concept of absent reason,
specifically that brought on by a government whose rule contradicted the logical mindset of the artist. Similarly, Courbet's
depiction of poverty-stricken individuals trapped in a dire situation emphasize the economic stability resulting from
governmental neglect. The bluntness in which these figures are portrayed lack any detail that would romanticize or weaken their
current form, thus making any interpretation of cruelty or sympathy for these individuals based entirely on logical circumstance.
In addition, both pieces place emphasis on the top right corner through it's stark contrast between the other elements of the
piece. Symbolic of a being's societal prominence, this section of each piece stresses the inequitable positions each troubled
individual finds themself in. In Courbet's piece, the corner's deviation in texture, hue, and use of space contribute to its
importance upon the piece. A similar idea is presented in Courbet's piece, though reversed, and additionally tilt the balance of

monstruos "- 1799

the piece to conform with this particular element. Furthermore, this area is used as the antagonist of the piece. It's devance
from the otherwise peaceful figures provides the figures with the burden of temptation.

Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849

Both artists similarly relate the conflicts of their pieces to the societal and governmental decisions that
deviate from logical reasoning. For Courbet, he uses this idea very bluntly, using very precise details in
relation to how the forms appear in real life to make any opinions on their current situation based entirely on
this actuality. Additionally, in Goya's piece, he relates the idea of logic to the troubles resulting from its
absence. The attack on the unconscious individual demonstrates their vulnerability to this swarm, and limits
any indication of an escape out of their situation. Similar to Courbet's piece, Goya contrasts the figure's
environment with the background figures in order to express this idea of an inevitable situation. The
abundance of creatures swarming the main character shield them from the background; the use of their
roughened forms in relation to the limited texture placed upon the sleeping figure corrupts their morality.
 Francisco de Goya-"The sleep of reason produces monsters (El sueño de la razón produce
Comparing Goya and Goya
In both of Goya's pieces, "Yard with Lunatics" and "Los Caprichos-The sleep of reason produces monsters", he demonstrates the
consequences of pursuing illogical thoughts. Through the use of jagged lines and deviating hues, the artist implies the malevolence
of the parties responsible for the figures' torment. In "Yard with Lunatics", the layered garment constituting the liable individual's form
stresses his privilege within the asylum, specifically that of a guard or a warden. Thus, it implies these actions are motivated by a
more malicious intent, this being their prejudicial mindset towards the inmates. In the case of "Los Caprichos", Goya similarly
indicates the prominence of the assaulting force through layered lines. Repetitive, jagged marks darken the textured forms, deviating
from the simplified form of the sleeping [Link], specifying the arrival point of the creatures as the right side confirms
their higher status, and brings forth this notion of an abusive power dynamic between the figures, similar to the scene of "Yard with
Lunatics". To further this idea, both pieces emphasize the vulnerability of the targeted figures through not only limiting layering, but
also through their mental states. Regarding "Los Caprichos", the unconscious state of the figure is symbolic of this concept, given it

monstruos "- 1799

renders an individual completely oblivious to their surroundings. In "Yard with Lunatics", vulnerability is presented as being the effect
of their mental instability, causing them to become susceptible to physical harm due to their ignorance of their environment.
"Yard with Lunatics", Francisco de Goya, Oil on Canvas,1793-94

In general, Goya's explorations of punishments inflicted on individuals burdened by illogical mindsets hints at the artist's fears
regarding this concept. Approaching the later stages of life, Goya's work consisted of malicious imagery inspired by his failing mentality.
In "Yard with Lunatics", the desolate environment confining these individuals emphasizes their isolation from society, prompted solely
by their mental instability. In relation to Goya's own emerging insanity,this piece suggests what is believed to be his inevitable fate, the
purposeful aggravation of the figures hints at the artist's increasing fears and pessimistic views regarding his mental health. In a similar
exploration of mental corruption, "Los Caprichos" furthers the artist's newfound cynical attitude regarding his future. The swarm of
animals provoking the individual are symbolic of negative character traits. In relation to the second half of the title, the reason for these
creatures' arrival is based off this disregard of all logic. Furthermore, this idea of "sleeping on" reasonable thoughts demonstrates a
complete and utter disregard for this concept as a whole, thus resulting in this production of monsters/illogical ideas. Similarly to "Yard
with Lunatics", Goya expresses corruption inspired by a deviation from rationality. By giving into the temptations of the illogical, the
artist expresses what he believes to be the end of a domesticated society. This piece serves as a continuation of the concepts of the
prior piece, furthering his fears regarding mental instability to its profound effects on society.
 Contrasting Courbet and Goya
Though both artists regard human suffrage as the basis of their work, each artists uses a different rendition of the theme. In "Yard
with Lunatics", Goya's piece is strongly reminiscent of mental torment, though with a few hints of physical suffrage as well.

"Yard with Lunatics", Francisco de Goya, Oil on Canvas,1793-94

Referencing his subject matter, Goya focuses on the criminally insane. The combination of viridescent hues and curved lines
constituting each figure's form serves to emphasize their suffrage through morbid exaggeration. However, Courbet's "The Yard
Workers" lacks any sense of exaggeration, given that the authenticity of the situation excludes any sort of detail that would
otherwise provoke the message of the piece. Additionally, Courbet's work focuses more on physical human suffrage; this being seen
by the tedious and strenuous labor that burdens the individuals. Though his use of harsh value serves as an indication of the
scorching conditions worsening the endeavors of the figures, it serves more as an imitation of a real outdoor scene. Conversely,
Goya uses value as a way to further distort the physical appearance of the figures, given it's distribution within the piece serves to
combine with the hues present within the forms in order to further distort their forms. This strongly contrasts not only with the
imagery depicted in Courbet's work, but the artist's intentions as well. Given Courbet's need to depict life as it exists, Goya's morbid
exaggeration strongly contradict these ideas. In turn, Courbet's work is limited in emotional reservoir, provided that this piece is
limited in expressionism. Though prior knowledge of the period could perhaps invoke feelings of inequitable treatment, the piece is
vague in its desired emotional response, though, ironically, utterly detailed in appearance. In "Yard with Lunatics", Goya's piece uses
these ideas in reverse, providing more obvious features to invoke a desired emotional response, while falling a bit short in physical
detail.

Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849

In general, both works contrast significantly within their intended depictions of social justice. For Courbet,
he uses peasants in a field in an attempt to depict a witnessed event earnestly. Although Courbet himself
was rather wealthy, his democratic morals encouraged his need to depict equality through paying homage
to the working class. Contrastingly, Goya's depiction of the criminally insane lacks this sense of homage,
and instead is used in relation to the artist's own conflicting [Link], the piece serves as a
metaphor rather than an exact imitation, through the foundation of the facility is reflective of that time
period. Despite both pieces similarly using secluded surroundings to stress the isolation of the figures,
both of which could be considered metaphors for the figures' exclusion from society, the general
environments are starkly different from one another. Courbet's combination of plentiful space and harsh
value scattered among the piece's composition is symptomatic of an outdoor setting. Additionally, the
suggested metaphor is displayed ever so subtly, this being the small corner that barely deviates from the
other elements. Goya, however, strongly contrasts this metaphor with the composition by making it the
near center of the top.
 Contrasting Courbet and Goya
In reference to Goya and Courbet's work, these of course being "Los Caprichos-The sea of reason produces monsters", both pieces,
though similar in theme, possess qualities that strongly contrast with one another. The obvious distinctions lie within their different
mediums that limit or enhance the use of color and value. For instance, "Los Caprichos", being a print, relies primarily on value to
emphasize contrasting hues and distinct forms. Thus, the piece lies purely on layered lines to emphasize these subtle differences.
Regarding "The Stonebreakers", Courbet's variety of hues causes the piece to not rely purely on value, instead integrating it into the
rest of the composition to strengthen the existing hues. Additionally, the use of line supplies distinctive detail to each element of the
piece, whether it's the subtle creases on the gentlemen's trousers, or the blistered foundation of the ground. However, the figures in
Goya's piece almost perfectly merge together, making the swarm of creatures smothering the unconscious figure an almost
indistinguishable mass. In relation to this idea of human suffrage, the imagery in Courbet's piece references this concept very
metaphorically. Looking closer at the swarm, Goya uses details that are subtle yet so distinct, stressing the importance that lies within
these specific animals. Referencing the title, the use of "monsters" for these otherwise normal animals suggests their danger lies
more within their meanings, However, in Courbet's piece, he expresses this theme in a very straightforward manner. The
combination of strenuous labor under scorching conditions offers hints to the physical turmoil endured by these individuals. Given
Goya;s fascination with presenting life as it exists, his piece provides an authentic account on the struggles of the working class. As
fascinating as it would be for this idea to be similarly expressed within Goya's piece, it's obvious that the imagery of this piece is not
taken from a witnessed event.

Francisco de Goya-"The sleep of reason produces monsters (El sueño de Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849
la razón produce monstruos "- 1799

Regardless of all of these differences, the most distinct one comes from their digressions within the theme. As
mentioned previously, Courbet relates this theme to physical suffering, specifically that of the working class.
Additionally, the artist's wealthy status implies the scene as being more of a third person experience as opposed
to one he himself is able to relate to. Conversely, Goya's piece "Los Caprichos" provides a metaphorical
interpretation of the artist's own experiences with mental his declining mental health. The use of these
creatures, provided that they represent negative traits, serve to represent a sort of punishment that results from
illogical thoughts. Additionally, the ideas used within this piece can also be interpreted as Goya's dislike over the
current government. Around this current time, the government of Spain refused to separate the church and the
state, dictating decisions based on the rulings of the bible. Similar to Courbet's desire to use realism, Goya
incorporated religious symbols and figures responsible for the torments of specific figures. In relation to this
piece, the "monsters" resulting from illogical thoughts, this being making decisions based on biblical stories.
Admittedly, the depiction in Courbet's piece could be seen as a subtle critique of the government as well, though
specifically that of economic instability.
Contrasting Goya and Goya

Francisco de Goya-"The sleep of reason produces monsters (El sueño de la razón

Despite both being works of Goya, "Los Caprichos-The sleep of reason produces monsters" and "Yard with Lunatics" consist of stark differences.
The strongest distinctions come from the use of color and line, though this could be excused by the medium of choice. Provided that "Los
Caprichos" is a print, the deviation of shapes and hues are implied through the layering and limitation of lines. That provide value to the piece.
However, in "Yard with Lunatics", Goya depends more on color to express deviations, using line as a way to accentuate certain details
constituting each of the forms. For instance, within the compositions of the main figures, the use of viridescent hues combined with these
random, curved lines further distort the appearances of the figures, and emit a very uncomfortable tone to the entirety of the piece. In addition,
while both pieces rely strongly on value to serve as the basis on their contrasting elements, both pieces use this idea to express human suffrage
in different ways. For instance, in "Los Caprichos", the elements that contrast with the main figure are these dark, textured shapes that appear to
antagonize the figure. Additionally, the specific use of limited line layering present the figure as being vulnerable and innocent, which digress

produce monstruos "- 1799

from the threatening swarm. In "Yard with Lunatics", the main figures, these being the inmates, are seen as the antagonizing element that
contrast with the cheerful, pearlescent lighting arriving from the top of the facility.
"Yard with Lunatics", Francisco de Goya, Oil on Canvas,1793-94

One of the most distinct differences between each of these pieces comes from the overall presentation of the [Link] "Los Caprichos", the
figures appear very flat on the surface. The plainer background refuses to add any depth to the scenery, making the general scene appear very
stoic. Conversely, practically every hue in "Yard with Lunatics" is blended together in order to imply depth, and causes the composition to appear
very smooth. Furthermore, the visible texture within this piece is also very smooth, given that the curved lines and general shapes of the forms are
expressed very organically. In "Los Caprichos", Goya lacks these harmonious elements and instead provides these stark details that make each
element very distinct. In relation to both pieces using the theme of human suffrage, Goya takes inspiration from two ideas that hold great
importance to him. For example, in "Los Caprichos", though this piece could be interpreted as the artist punishing himself for illogical thoughts, it
relates more to his dislike over the foundation for the government. During the mid-eighteenth century, the Catholic church was the closest and
most influential ally of the government, given it provided economic support through offering over twenty percent of its income from tithes. In
relation to the title, the piece appears as a metaphor for refusing to make decisions based off of logical reasoning. This idea of "sleeping on", or
refusing to acknowledge, reason, and instead choosing to base decisions off of biblical stories is presented as being the corruption of society. In
"Yard with Lunatics", however, Goya chooses to discuss his fears regarding his own health as opposed to that of his country. Near the end of the
eighteenth century, Goya's mental health was deteriorating, causing fits of insanity and depression to overwhelm him. Thus, this piece serves as a
metaphor for his condition; the use of dismal hues and distorted figures emphasizing the artist's pessimistic attitudes towards his condition, and
perceiving this as his inevitable fate.
 Function and Purpose: Courbet vs My
Work
An exploration of the effects of abiding subservience are the key similarities found within each of these pieces, despite some
diversions in presentation. Within Courbet's "The Stonebreakers", he depicts two laborers captured in arduous conditions. The harsh
lighting emphasizing each patch in their frayed garments establishes their impoverished lifestyles, further recognized through the
limited diversions in value that suggest the direct sunlight influencing a sweltering atmosphere. Acknowledging the tedious labor and
isloting conditions endured by these gentlemen, their stone breaking task, a common punishment imposed onto criminals thereby
suggests their roles as unwilling participants.

Contradictingly, my piece "Defiance" focuses on an authorial figure, which is expressed through his higher quality garments. Though
the background reflects figures of subservience, the centralizing of this figure separates him from the hanging figures, suggesting his
role in their current condition. When considering the character, this being Karl Heisenberg from Resident Evil 8: Village, his actions are
meant to demonstrate the effects of prolonged submission to an authorial figure, and how his role as such an individual reversed upon
continued abuse. Such a depiction differs from Courbet's piece in which a present perspective is presented. The faces of the workers
are obediently shielded from view, causing them to appear meek and compliant as opposed to Heisenberg's arrogant aloofness.

Mary Verkuilen, "Defiance", Charcoal on Paper, 2021 When considering the tone of each of these pieces in relation to their themes of subservience, both works rely heaviliy on hue. In
"Defiance", each form is depicted in monochromatic hues, which differs from the assortment of warm, distinctive hues within
Courbet's work. Such a palette contributes to the tones of the pieces as well. Within Courbet's work, this array of hues contributes an
almost ironic tone to the piece, considering the pleasant aesthetic produced from this palette in relation to their punishing task. Unlike
"Defiance" in which the monochromatic hues already contribute to the morbidity of the situation, the cheerful pigments Courbet uses
distracts from the reasons for their work, thereby limiting the baltantness of this harsh reality. In general, both pieces are presented in
industrial environments from opposing perspectives. Within "Defiance", the character's positioning in front of the window presents the
scenery behind him as an accomplishment. This deviates from the perspective of Courbet's piece in which the captured actions of the
gentlemen are caught unwilling.

Courbet's work is strongly reflective of the Realism movement, a movement he himself helped create. The detailed forms lack
abstraction and glorification, and are meant to illustrate the realities witnessed within this period.

Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849

 Function and Purpose: Goya vs My Work
When considering these two works of art, the most discernible similarities comes
from their shared themes of mental instability. In each of the pieces, humanoid
figures are used in order to explore the effects of this burdened mentality. Within
Goya's "Yard With Lunatics", multiple figures are shown in moments of suffrage, their
writhing forms forced into these almost animalistic conflicts, Their barren and
malnourished forms further aggravate their appearances, and, combined with the
brutality of their actions, presents the piece as very bleak and desolate overall. In my
own piece, "Desperation", a singular character is presented. Similar to Goya's piece,
humanoid forms are presented in order to stress this instability, this time in the form
of swarming limbs from unidentifiable sources.

Each piece also relies on hue in order to best emphasize the tone. Within Goya's
piece, he uses a range of sickly hues to depict these unsuitable conditions
experienced by the inmates. The distribution of value forces a dull yet nauseous
parlor amongst their skin, resulting in tones of unease and forces each form away
from their humanity. However, within "Desperation", monochromatic hues are used
to offer tones of desolation and sorrow as opposed to disgust. Though Goya uses a
limited array of hues, there are still areas in which unique hues cause certain
elements to appear distinct, such as the pearlescent hues emerging from the top of
the piece, or the contrast between the pale tones constituting the inmates and the
murky hues of the asylum walls. However, within "Desperation", each component is
limited in their uniqueness as a result of this palette, which suggests the correlation
between each of the forms.

The use of space also differs within each piece as well. Within Goya's piece, the top
portion of the piece is empty, the distribution of chaos remaining in small groups on
the bottom. This thereby reserves the present insanity to only one, carefully
reserved area to express its containment. Within "Desperation", a wide, overlapping
range of forms take up the near majority of the space.

"Yard with Lunatics", Francisco de Goya, Oil on Canvas,1793-94 "Desperation",, Mary Verkuilen, Charcoal on Paper, 2021
 Function and Purpose: Goya vs My Work
Between Francisco de Goya's "The sleep of reason produces monsters" and
my own "Desperation", both pieces are depictions of the effects of weakened
mentalities. Similarly, this idea is demonstrated through a malicious swarm
violating the main figure. Within Goya's print, he uses a group of animals to
represent unsolicited illogical thoughts. The harsh lines constituting the rough
textured forms present each figure harshly, stressing the threat they pose on
the unconscious figure. Regarding my own work, the figure in "Desperation" is
engulfed in a n abundance of synthetic and real limbs to represent the
character's reliance and obsession with doll making.

Unlike Goya's work, the limbs halo the figure as opposed to emerging from the
top right corner. This thereby suggests their constant presence within the
existence of the figure. The use of monochromatic hues that limit their
distinctions from the character emphasize this as well. Within Goya's piece, the
artist uses contrast between the humanoid form and the creatures that disrupt
his slumber. Each creature is composed of jagged lines that, upon their
constant layering, darken each form, which differs from the lineless character.
The paleness of his form additionally emphasizes his innocence within this
piece as well.

Both pieces differ in their line use as well. Within Goya's piece, layered lines
are prevalent, similar to the composition of "Defiance", however each form is
composed of thin convergent lines as opposed the bolder, organic lines
constituting the character's appearance. However, both pieces similarly
provide emphasis on eyes. For Goya's piece, this is seen within the characters
surrounding the main form in which their eyes are one of the most jarring
aspects. Considering the lynx in the bottom right corner , the bulbous eyes are
simplistic in shape which, in relation to the rest of the form, appears jarring. In
relation to the figure's smothered sight, such emphasis on these features, this
thereby suggests the character "sees" through their eyes, or through an
"The sleep of reason produces monsters (El illogical perspective. Though "Desperation" does portray a blinded character, a
"Desperation", Mary Verkuilen, Charcoal on Paper,
sueño de la razón produce monstruos ", singular eye remains visible while the other is obscured by an infection. This
2021
Francisco de Goya, Etching and aquaintment, thereby suggests the parallels of perception, and suggests a split between
1799 sanity and instability
Culture: Courbet vs My Work
When considering the cultural inspirations of each of these pieces, the most apparent differences come from the eras. In Gustave
Courbet's pice"The Stonebreakers", he uses Realism in order to depict the harsh scenes he witnessed in the French countryside.
His use of detailed forms illustrates Courbet's earliest expressions of unvarnished reality. Considering the authorial reign of the
Académie des Beaux-Arts in which certain techniques and imagery were deemed acceptable, this piece serves to rebel against these
artistic restraints. Previous portraits would idealize the working class by depicting them in clean, unvarnished garments and additionally are
shown in scenes of rich valleys and rich hues. These ideas are contradicted within the work of Courbet in which the figures are shown
earnestly, wearing filthy patched garments and are of unhealthy ages to be engaged in tedious labor.

Within my piece "Defiance", though much of the industrial aspects and depictions of submission and control are taken from Courbet's
work, I was also inspired strongly by my own personal experiences. The title "Defiance" is meant to serve as a metaphorical representation
of toxic mental control. The use of Karl Heisenberg, the industrial anti-hero from Resident Evil: Village, is used to represent these ideas due
to the character's history of subservience which later led him to an antagonistic path. Like much of my third series of work, this piece serves
as an acknowledgment of toxic control, and how forcing oneself to obtain full control of their emotions and limiting opportunities of
vulnerability.

Gustave Courbet- "The Stonebreakers", Oil on Canvas, 1849

Mary Verkuilen, "Defiance", Charcoal on Paper, 2021

In general, both pieces are strongly influenced by environments that limited opportunities for
control. For Courbet, his piece serves as an ironic depiction of these ideas, provided a work that
demonstrates submission in the French countryside was executed to defy the limiting criteria of
the Académie des Beaux-Arts. Additionally, Courbet's depiction of peasants further serves as a
statement of the harsh conditions endured by the working class, and serves to provide
unvarnished reality in order to further this idea. Within "Defiance", the concept of subservience and
defiance are influenced primarily by mental health, and uses additional modern influence to
convey the parallels of obedience and control in different societies. Though "Defiance" does not
take use Realism in order to depict a reality current of this time period, it instead provides a
metaphorical depiction of toxic mental control influenced by the rules and expectations of an
authorial force.
 Culture: Goya vs My Work

"Yard with Lunatics", Francisco de Goya, Oil on

When considering the cultural influences of Goya's work in relation to my own, there are
several key differences between these pieces. My piece "Desperation" serves as an
interpretation of dependence, and how, when combined with a poor mentality, can lead to
an individual's downfall. Through the use of Donna Beneviento, one of the main
antagonists from Resident Evil: Village, is a strong reference to this theme due to the
character's dollmaking tendencies that, due to severe social anxiety, later became an

"Desperation",, Mary Verkuilen, Charcoal on Paper, 2021

obsession and her only means of socialization. Through this character, my piece depicts a
morbid yet despairing figure in order to emphasize the blatant insecurities that result from a

Canvas,1793-94
declining mentality. The use of monochromatic hues contributes to the piece's desolate
tone, the pleading human hands begging for surrender while the sharp synthetic limbs
force the character back into submission.

The brutality of Goya's work, these being "Yard With Lunatics" and "The sleep of reason
produces monsters" depict elements reflective of Goa's dissatisfaction with the sudden
changes in his life. "Yard With Lunatics" takes inspiration from the asylum conditions
commonly used within the mid-18th century. Upon Goya's emergence into the later stages
of his life, he suffered through physical health problems that later led to a decline in his
"The sleep of reason produces monsters (El sueño de la razón produce

mental health, further influencing his work to become much darker and morbid in
appearance. The tormented figures within his piece serve to suggest Goya's increasing
monstruos ", Francisco de Goya, Etching and aquaintment, 1799

fears of his own declining mental health, and serve as a direct contrast to his earliest
pieces, which focused on cheerful characters composed of rich hues and lush scenery.

Within "The sleep of reason produces monsters", Goya's print serves as a depiction of his
dissatisfaction with the influence of religion on governmental decisions. His use of
creatures swarming the unconscious figure, this being his "sleep of reason", are meant to
portray the arrival of illogical thoughts, and how remaining ignorant to logical reasoning can
force an individual to see through the eyes of irrational ideas. These ideas are strongly
influenced by Spain's government experiencing a takeover by the Catholic church, and
expresses Goya's fears that a dependence on religion for political matters would lead to a
chaotic society. Similar to "Desperation", Goya's declining mentality provided further
reasons for his discomfort with the increasing power of a religious group.
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