Condemned by the Inquisition of Eugenio Lucas

Condemned by the Inquisition of Eugenio Lucas
Condemned by the Inquisition of Eugenio Lucas
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This canvas painted using the oil technique was made by the Spanish artist Eugenio Lucas Velázquez around 1860, and is currently kept in the Museum del Prado in Madrid, where it forms a set of works inspired by the same theme and with the titles of Condemned by the Inquisition and Condemned by the Inquisition, with which he proposes variants on the feared trials that were carried out in Spain on matters of religion.

Convicted by the Inquisition of Eugenio Lucas

Convicted by the Inquisition of Eugenio Lucas

For these images the influence of the work of Goya is very clear, especially his Black Paintings, since the truth is that Goya did know these horrible judgments he made the Holy Inquisition, while Lucas did not, since this institution had been abolished in the year 1812.

Eugenio Lucas(1824 – 1870) was a prototypical character of theRomanticism, and not only because of the time in which it happened live, but also by the spirit and way of seeing life of him. For example, he made many trips and made the usual trip to Morocco for many romantic artists and like them, for example, Delacroix, there he dedicated himself to painting exotic scenes. Later, he returned to Spain and declared himself a republican and revolutionary.

In it you can see a Romanticism intimately linked with the historical moment that was lived inSpain, and therefore E. Lucas, he is not only a romantic because of his pictorial style or his tastes

His greatest reference to him was undoubtedly the work ofFrancisco de Goya, and like him, he was tremendously critical of the Church and the superstitions that surrounded to religious matters. And stylistically, studying Goya's works helped him free himself from the more academic forms, and achieve a way of painting based on a very free brushstroke and a very personal use of colors.

But his works are not mere copies or imitations of Goya's paintings, although it is true that he also made them. In reality, he took advantage of themes and paths opened by the Aragonese painter, but which undoubtedly fit much more with the most romantic style and spirit, where color was very important. And also, the truth is that when dealing with certain themes, while Goya appears to us as a much more committed and critical artist, in the case of Eugenio Lucas Velázquez his character is closer to the picturesque and theatrical.

A good example is this canvas, in which there is a true staging, with the condemned woman parading on the back of a donkey and marked with a hood on her head, and the cross on her chest, which resignedly endures her walk among the people, who seem to be attending a street show.

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