Goya is known for his truth paintings, many of Goyas works from 1810-15 reflected the bitter experience of the savage behavior at that time. Goya and many of his countrymen had originally hoped that the conquers would bring the liberal reform so badly needed but the savage behavior of the French troops crushed these hopes and generated resistance in the Spanish people. Goya represents these brutal events, donating on canvass the war efforts against the French . Goyas greatest representation of these events and world renowned painting is The Third of May 1808 it now haunts the covers of history books, appearing on postage stamps and postcards around the world. It has been used to symbolize the art of Goya, as well as the spirit of Spanish revolutionary heroism. This violent yet moving image depicts the public execution of the rebels on May 3rd 1808, the day following the insurrection of the Spanish people; An event also depicted in another of Goya's painting titled, Second of May, 1808 (fig 4). In the vigor of the street battle in The Second of May 1808, the Spaniards appear, momentarily, to be gaining the upper hand but the later painting reveals the massacre of civilians, which the French carried out in reprisal for the insurrection.

In 1812 Goyas wife, Josefa died and in 1805 his only child, Javier married, these events contributed to Goyas increased isolation. During this later part of his life he covered the walls of his house with famous Black Paintings which were the last and most haunting extrovert of his strange and unforgettable genius. Some of his visions seem to go deeper into dark recession of the mind. For example, Saturn painted in 1820-23 shows the mythological figure of Saturn devouring his son from a jealousy over their suspected power when eventually grown. Although in keeping with Goya's other paintings and etchings, this seems to suggest instead Goya's comment upon a nature of old age in which insanity and selfishness destroys its own progeny. Goya painted this image in his dining room using the oil-based al-secco technique, which had replaced the traditional fresco method in the 19th century . Although suggested by proverb and popular superstition many of his scenes defy exact analysis, belonging to the subject of experiences horror.

m during his final years, only then can one begin to understand his unique artistic style.

The Third of May 1808 has been painted in the most eye-catching colours; glowing whites, golds and scarlets against the sombre blacks, greys and browns of the background. The blazing colors, broad fluid brushwork and dramatic nocturnal light are more empathetically Neo-Baroque then ever. The doomed men are immortalized, the street fighters from the Second of May meet their fate. One or two are recognizable: the corpse sprawled below the living victims, a prone male figure with matted blood-soaked hair and shattered skull, is identifiable as the hero with the dagger, stabbing the horse in the right-hand foreground of the proceeding picture . The bright light of the lantern pulls together the pile of corpse in the foreground, the group facing the firing squad, and the batch of prisoners waiting their turn; an

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