Only a donkey in the foreground remains undisturbed, as if trying to understand the hysteria that surrounds him.
Often compared to a related mezzotint which shows a brooding figure seated on a low horizon, a copse of trees can be seen in the left side of the canvas, while the lower portion, depicting a ridge, is dominated by shades of black. Only a donkey in the foreground remains undisturbed, as if trying to understand the hysteria that surrounds him. The use of heavy impasto for the scattering caravan contrasts with the misty, cloudy look that dominates three-fourths of this work, which was probably based on Juan Arriaza's poem about a certain figure "caught by the fiery light of the setting sun" rising above the Pyrenees. Presumably an allegory depicting the impact of the Napoleonic war on the painter's homeland, FTP, identify this 1812 work featuring an enormous bearded man, a painting by Francisco Goya.
Often compared to a related mezzotint which shows a brooding figure seated on a low horizon, a copse of trees can be seen in the left side of the canvas, while the lower portion, depicting a ridge, is dominated by shades of black.
The Colossus or El Coloso (prompt on "The Giant" which was the original Spanish name and is occasionally used in Spain)