An Analysis and Comparison of the Painter Francisco

Goya and the Filmmaker Guillermo Del Toro.

3653 Words Excluding quotes.

Rodney Victor Williams: 11816

Analytical Essay

Content

Introduction page 1

Guillermo Del Toro: History and Legacy Page 2

The Demon Possess Boy Page 2

Accomplishments: Guillermo Del Toro Page 4

The narrative of his films Page 4

Francisco Goya (1746-1828): His Legacy. Page 6

Comparison Page 9

Conclusion Page 12

Bibliography Page 13

Introduction

The goal of this article is to highlight and discuss the life of two major artist that stand out to us from two different time periods. This article would be focusing on the career of Guillermo Del Toro, the Mexican filmmaker who has risen slowly over the last decade to international prominence, and the life of Francisco Goya the renowned Spanish painter from the period of romanticism. Often referred to as “the last of the great masters” and “the father of modern art” (wga.hu, 2010).

The life of Franciso Goya can not be summed up in this article but this document will attempt to discuss some of his major works and how they contributed to modern art also taking a look at how Gayaʼs work has impacted and influenced Guillermo Del Toro.

The goal of this document is to discuss each artist in the context of their society, highlighting the challenges that stood out to them in an attempt to discover how each individual artist went about overcoming their obstacles. This document will conclude with a summary of the important concepts found.

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Guillermo Del Toro: History and Legacy

IMDB states that Del Toro was born on the 9th of October in Mexico 1964, Guadalajara, Jalisco, Mexico (IMDB, 2010). There are many generic Bios for Del Toro throughout the internet but after careful research I was able to find some intriguing information about Del Toro which offers a more insightful introspective on the life of this amazing filmmaker. There is a biography on Yahoo movies about Del Toro. It states that Del Toro made a pact with Monsters to devote his life to them. In return the Monsters would have to allow him into his bedroom without harming him. In the story it is said that the monsters agreed to the pact and Del Toro started to make movies about monsters with a super 8 camera he later then moved unto 16mm and then 35mm (yahoomovies.com, 2009). This story can also be found on Screenrushʼs website (screenrush.co.uk, 2010). Whatʼs interesting about Del Toro was the fact that he didnʼt attend film school in Mexico. When he was young he wanted to be a marine biologist and he studied at Guadalajaraʼs Institute of Sciences but after his degree, as if driven by an inner compass Del Toro enrolled into an advanced make-up course that was lectured by Dick Smith. Dick Smith is the makeup artist responsible for some of the most memorable make up art in crime drama and horror films, including ʻHouse on the Haunted Hillʼ, ʻPoltergeist 3ʼ, ʻAmadeusʼ,ʻ ʻThe Exorcistʼ, and ʻThe Godfather 2ʼ (imdb.com, 2010). Dick Smith is said to be considered the Godfather of special effects makeup in a press release on his website from the Academy Awards (dicksmitth.com, 2010). Seemingly Del Toro wanted to create his own life forms so he acknowledged his need to master special effects work and enlisted in the classes of the master himself, Dick Smith. Del Toroʼs first Job in the industry was as a special effects designer. On the Bio Channel an article states that he spent 10 years in the film industry in special effects. According to the article this decade saw Del Toro develop these skills while directing and producing several movie shorts and working on television. During this time he worked on four TV series of the horror ʻHora Marcadaʼ (thebiographychannel, 2010).

The demon possess boy

The article on the Biography Channel mentions and interesting occurrence in Del Toroʼs life. When he was young Del Toroʼs went to a Catholic church with his grandmother. She took him to church on a few occasions to have deliverance from demon possession because he often drew monsters. It would seem from childhood Del Toroʼs imagination

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was already focused on the darker subjects of myth or probably to Del Toro these monsters were real. The article notes that Del Toro used his make believe world to escape the horrors of the violence in Guadalajara. One can say that his films have a similar theme, monsters and violence. I believe the following quote from Jung can offer some insight into the state of Del Toroʼs personhood, not as a filmmaker but rather as a man.

...“We carry our past with us, to wit, the primitive and inferior man with his desires and

emotions, and it is only with an enormous effort that we can detach ourselves from this

burden. If it comes to a neurosis, we invariably have to deal with a considerably intensified

shadow. And if such a person wants to be cured it is necessary to find a way in which his

conscious personality and his shadow can live together.”... P12 Jung (1958, pg12)

When we look closer at Del Toroʼs life you begin to see a clear link. Drawing Monsters in ChildhoodDeliverance sessions from monsters at the catholic churchAn interest in marine biology: Understanding the creatures (Monsters) of the seaTaking the Dick Smith special effects course: Designing and making Monsters

Could it be that Del Toro has found a way to merge his darker self (what Jung calls the Shadow) and his conscious self in order to cure himself from the fears of his past? I believe in an interview on Time magazine online Del Toro gives us an answer to that question in his response to a question from the interviewer.

Interviewer: You seem to find the practical idea of what a vampire's anatomy might look

like particularly fascinating. Not just the idea of what they can do, but also what they look

like on the inside. Where does that come from?

Guillermo Del Toro: When I was a kid, my father bought two encyclopedias for our library.

He bought an art encyclopedia and a medical encyclopedia. I read them both eagerly and

the idea of art and anatomy and biology became fused into one. Somebody said that the

best way to believe in a monster is to find the corpse, the carcass of a monster, because

once you see it there, that's proof that they exist. So I'm kind of fabricating this biology as

a way to allow people to believe in them (Cruz, 2010).

In answering the question Del Toro references his past. He talks about his dad bringing

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home two encyclopedias and adding them to the library. He also talks about the fusion of

art and science and the importance of finding the carcass of the monster as a

metaphorical way to make the creature more real to the audience. His answer shows how

thorough he is about his craft. It can also be a subconscious indicator of the fusing of his

darker self with his conscious mind as a way to find his own reality (stability). Probably

that may be reading too much into the response but what is certain is that Del Toro is

intentional and has adapted a type of mythical science to his films and ideas.

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Accomplishments: Guillermo Del Toro

To-date Guillermo Del Toro along with Alfonse Cuarón and Gonzalez Iñárritu

are the three top Mexican directors who have earned the respect of Hollywood. I say this because when you think about Hollywood branded films Directed by Mexican filmmakers; these are the three names of current that prominently show up in the news and media. In 2007 Del Toro, Curan and Inarritu along with two other unknown Mexican Directors who were trying to get studios to fund them 100 million dollars for the completion of five films. Although in an article online at New York magazine it was noted most studios turned down the offer, Universal Studios were said to be interested (NYMag.com, 2007). What separated Del Toro from his peers was the way he was able to execute the genre of his films.

The narrative of his films

His films are said to be horror films. I agree that Del Toro does films about monsters with a very intricate personal understanding and unique narratives that go against the Hollywood tradition but for some reason his films arenʼt scary. I think in many ways he makes horror films watchable by the way he shows his understanding of the subject and the craftsmanship of the creatures on screen also by the way he creates a fusion between horror and fantasy. Some of his more personal films have the characteristics of classical

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Del Toro with peers. From left. Cuarón, Iñárritu and Del Toro. (NYMag.com, 2007)

horror such films like “Cronos” (1993) and “The Devilʼs Backbone” (2001) but films like “Mimic” (1997), “Blade II” (2002) and “Hellboy” (2004) lose the intimate aesthetics of his more personal films. Although, one thing remains - and that is his ability to deliver intriguing creatures on screen. We see this as a consistent trade mark in all Del Toroʼs films from the Vampire with rotting flesh in “Cronos”, the “Goatman” in “El Laberinto” “Del Fauno” to the character Red in “Hellboy”. The film ʻThe Devilʼs Backboneʼ was the film that saw Del Toro return to form after his fall out with Hollywood production company Weinstein over the film “Mimic”. Apparently Bob Weinstein visited the set and made demands on what should be shot, often going away from the original script (imdb, 2009).

One of his most major accomplishments that stand out to me is the film “El Laberinto Del Fauno” (Panʼs Labyrinth, 2006). This film fostered six Goya awards, three Bafta awards, three USA Academy awards along with nine Mexican academy awards including best direction (imdb, 2009).

Del Toroʼs personal independent films always had a richer narrative than the ones done for Hollywood studios although he has been able to strike a balance also with more recent Hollywood productions like the” Hellboy “ films.

Recently Del Toro has been selected by Peter Jackson to direct the series of films entitled “The Hobbit”. There is an article at LA Times weblog that proclaims:

...Prepare for the Guillermo Del Toro Decade: The Hobbit Director is just getting started... (Jackson is back as producer on “The Hobbit” and said last year that he “cannot think of a more inspired filmmaker to take the journey back to Middle-earth.”)...Boucher, (2009)

Guillermo Del Toro has achieved international acclamation. He has reached from Mexico to an audience across the world surpassing his peers and establishing himself as a virtuoso filmmaker, but to maintain his credibility he has to hit the benchmark set by Peter Jackson in the “Lord of the Rings” Trilogy. Will he be able to rise to the occasion?

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Francisco Goya (1746-1828): History and Legacy.

According to the ʻWeb Gallery of Artʼ Francisco Jose de Goya y Lucientes was born in Spain in 1746 in Fuendetidos, Aragon (wga.hu, 2010). In 1760 at age 14 Goya entered into apprenticeship of the painter Jose Luzan. On the website ʻtop-tour-of-Spainʼ it is noted that Goya was also trained in the Baroque and Rococo painting style although he never got a chance to be accepted into the Royal Spanish Academy in Madrid as he was rejected both times he applied (top-tour-of-spain.com, 2010). In 1780 Goya slowly rose to prominence through his marriage to the sister of Bayeu. Bayeu was a prominent court painter. He was on the board that rejected Goya from the Academy. In Robert Hughes book ʻGoyaʼ, he cited that Goyaʼs second rejection was through nepotism. Hughes says on page 34 that Ramon Bayeu voted for his brother to insure him the scholarship. Goya in turn kept his cool because he thought to offend such a man will be bad for his progress. Goya went to Italy to be considered by the Spanish court monarch Charles III due to his preference of Italian and French painting standards as Spain lack authoritative Spanish schools, after the passing of the great painters of the Golden Century... Hughes (2004). On the website ʻTop-Tour-of-Spainʼ there is an article which states that Goya won 2nd price in a competition of the Pharma. The website also states that during his time in Italy Goya was influenced by Classicism and Neo-Classicism (top-tour-of-spain.com, 2010). There are two paintings said to be painted by Goya while he was in Italy. According to Hughes one is now

missing but there is one still available. Itʼs an oil painting attributed to Goya. Its name is ʻSacrifice to Panʼ. It is one of the paintings that I found interesting. Hughes says that he believes the painting did not belong to Goya but the theme of “Goatman” with horns on his head is dominant in Goyʼas later paintings. The painting to the left is an example of what I mean. It is a scene from Goyaʼs

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Goya (Attriubuted), 1771. or Sacrifice to Pan [Oil on Canvas]

Goya 1790s. A scene form the forcibly bewitched [Oil on Canvas].

oil painting ʻThe Forcibly Bewitchedʼ. In the painting ʻSacrifice to Panʼ Hughes notes that a virgin dressed in white is pouring hymenal blood as a symbol of the sacrifice of her virginity

(innocence). In ʻThe Forcibly Bewitchedʼ a Demon with horns holds out a lamp and is offered oil by a priest (a type of representation of innocence) who believes that a spell was put on him and his life is being drained away...Hughes (2004). The painting ʻSacrifice to Panʼ may very well be a painting by Goya that showed the first signs of what was to come from Goya in his latter days. Although I would say that ʻThe Forcibly Bewitchedʼ represents and hints at a much darker version of Goya although Hughes in his book expresses that he believes this painting is not to be taken seriously. He considers that at best, itʼs a joke. I disagree. I believe that the painting was an echo of things to come. This is itʼs importance.

Goya returned to Spain and married the sister of Bayeu, the court painter who rejected him from joining the academy. Goya at this point went on to become a court painter himself but these paintings are of no real interest other than to show Goyaʼs brilliance and mastery of art. The interesting paintings of Goya were always the more personal ones that showed his power over narrative description. Those were the paintings he did between his prime and his untimely death in 1828 living in exile in France.

An important trait to note about Goya was the way he expressed the hardship found in his life via his paintings. Hughes notes in his book that Goya and his wife had suffered the loss of many children through miscarriages. In the book ʻGoyaʼ on page 153 Hughes points out that Spanish women lost children through miscarriages. It is a dilemma that effected Goya and his wife. Out of the seven children that were born to them only one survived to pass into adulthood. Goya in his paintings had portrayed his pain by using the metaphor of the image of the witch as a child snatcher offering children to Satan. ʻThe Witches Sabbathʼ and ʻThe Spellʼ are examples of such paintings

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Top: Goya. 1797-98. Witches Sabbath. [Oil on Canvas]Bottom: Goya .1797-98. The Spell. [Oil on Canvas]

where Goya expressed his pain and trauma through his art. In a way we believe his art was used to exorcise his pain. To the top right we see Satan sitting in the middle reaching towards the baby as if he is about to take it from the witch. Below again to the right we see three witches with a doll and a basket of babies. These paintings have a very horrific look. The power of these paintings lie in their myth or we should say the way which Goya articulated the narration of the myth on canvas. In her book ʻCinema Conceptsʼ Susan Hayward quotes Claude Levi-Strass on myths. She cited Levi-Strassʼ argument.

...ʻa dilemma lies at the center of every living myth. The impulse to construct the myth comes from the desire to resolve the dilemmaʼ...Hayward (2006).

Strauss theory may confirm that Goya wanted to solve or at best try to capture the nature of what was happening to himself and the other families in Spain at the time in the narrative of the painting.

Goyaʼs ability to speak through his paintings in such a strong way was multiplied as his personal and social calamity grew:

In 1792 Goya became deaf. In 1799 a set of 80 aquatint works called “Los Caprichos”. Were published these works

demonstrates Goyaʼs satirical wit and showcases his criticism of the Spanish society (top-tour-of-spain.com, 2010).

The Website ʻArt Knowledge Newsʼ has an article on the significance of these paintings which were used at an exhibition in 2007 to show the importance of Goya to modern art. The article on the website states;

....Los Caprichos is the first series of etchings that move away from commissioned paintings typical of the era towards a more informal style with greater freedom to mix reality with imagination. This, coupled with his satirical depiction of 18th-century Spanish society, positions Goya as a precursor to the modern art movement almost a century later (ʻartknowledgenews.com, 2007).

Goyaʼs work echoes throughout time into our present. We see Goyaʼs work as a cornerstone and a referencing point for many modern works of art. One can say when we

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look at Goya we see the nature and subtext of the horror genre in cinema.

In 1810 Goya again paints a set of aquatint works known as “Los Desastres de la Guerra” or “The Disasters of War” showing his interpretation of the peninsular War. The critic Hughes makes an interesting note in scene selection 14 of his documentary DVD “Goya Crazy like a Genius (2002)”. Hughes states that he believed Goya wasnʼt able to see the war simply because he wouldnʼt have been able to witness the events he painted and escape from the scene with his life ...Hughes (2002).

This analysis points to the probability that the despair in the majority of these paintings were imagined although not wrongfully accredited to the actual horrors of the war.

COMPARISON:

Comparing Goya and Del Toro presents a challenge. Guillermo Del Toro although a great filmmaker of our time, is still young and half the caliber of the artist that Goya is/was. Any inspiration between them can only emanate from one direction and that is from past to present. That is from Goya to Del Toro. There is an interview on youtube where Mark Kermode interviews Guillermo Del Toro. When Del Toro is asked about the scene in the film that surrounds the character of the Paleman eating the fairies, Del Toro replies by acknowledging that the character and the scene were inspired by one of Goyaʼs black paintings, ʻSaturn Devouring his children (1819-23)ʼ. Kermode, (2010).

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Left: Goya. 1820-24. Saturn Devouring His Son [Oil on Canvas]Right: Screenshot from Panʼs Labyrinth (IMDB, 2006)

Here we see Guillermo Del Toro referencing Goya. Guillermo talks about how he saw the painting when he was young. He notes that he remembers the anguish of Saturn in the painting. I always thought that the power of the painting was in the significance of the narrative. We have the Mythical God of art devouring his children. I always thought that Goyaʼs portrayal of this was in some way linked to his interpretation of his love. Probably Goya thought that he was being devoured by Saturn. I donʼt get that depth when the analogy is used by Del Toro. It just seems empty. If anything it achieves gore but that is as far as Del Toroʼs portrayal goes. Del Toroʼs reference captures the lighting in the painting very well.

Although Del Toro doesnʼt mention it in this interview I also noticed that there are other scenes in the film that are either intentionally or subliminally taken from Goyaʼs work. The similarities found in this particular frame from Panʼs Labyrinth has striking similarities to Goyaʼs ʻThe forcibly bewitchedʼ. We have the Goatman with the young girl (symbol of innocence) contrasted with the Goatman with the priest (Symbol of innocence).

One should note that the placement of the characters also match. The Goatman on the left side and the subject that represents innocence on the right.I appreciate Del Toro for his referencing of Goya as Goya himself learnt from great

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Left: Screenshot from Panʼs Labyrinth (IMDB,2006). Right: Goya, 1790s. A scene form the forcibly bewitched [Oil on Canvas].

painters and was inspired by art from Italy. We can say that Del Toro is simply doing what a good artist does and that is to learn from the greats. The worlds that these artist have created have striking similarities in the lighting and themes. Both artist have approach the dark and mysterious with a unique understanding of the monsters they have created. We probably would believe that both Del Toro and Goya saw their subjects or witness equally horrific events just from glancing at their work without knowing their history. One thing each artist has in common that must be pointed out and that is the fact that both Goya and Del Toro created work for themselves. They didnʼt arrive at their destinations in their career by waiting. We see Goya going to Italy in an attempt to prepare himself to be accepted by a monarchy that had preferred Italian art. Guillermo Del Toro set up a company simply to do his first film. The social psychologist Stephen R. Covey calls this the law of Proactively. The first law in his renowned book ʻThe Seven Habbits of Highly Effective Peopleʼ a ʻTimesʼ best seller (Covey, 2001). This passion and hunger toward art is inspirational.

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CONCLUSION

One thing stood out to me after reflecting on both artists in the context of their medium, and that is the power of each medium. Paintings have a much rawer power in capturing their subject but their narrative is limited to the description only of a single moment. This limitation is what helps to produce the intimacy. It forces the artist to use every means necessary to convey his narrative. I think itʼs fair to say that paintings explore their narratives more thoroughly while film attempts to do the same but as it is concerned with the capturing of more linear moments it loses it emphasis on the intimacy of a singular moment because itʼs goal is to capture time. This is where I believe film owes much to the paintings of artist like Goya. The very nature of painting pushes the artist to stretch his imagination. Goya tapped into a world of symbolism, I believe further research can link Goyaʼs paintings to what Jung called the archetypes, a system of symbolism that is uncharted. Which Jung stumbled across in his research... Jung (1917).

I think without the discipline of painting in our history there may not be a referencing point for such styles like German expressionism which in turn acts as a platform for the horror genre. This evolution of art is one that I believe must be appreciated and understood.Guillermo Del Toro is being called a master of the horror genre he may be the equivalent of what Goya was to his peers with his art and black paintings although he can never be a cornerstone like Goya is, probably years from now generations may reference his films. Both artists have concerned themselves with the exploration of the mythological, dark and mysterious dream realm. Each using his art as a type of self-remedy for their individual personal trauma to escape the violence of the world around them. There is much more to be explored here. I would liked to have focused more on the symbolism of their work in greater detail. There are various theories from Jung that can be applied. There is much more room for analysis and exploration.

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