2345621jf1 #
Blockchain
Name
Test collection - 1 day lock
Contract Address
Token ID
92921199247391117185940726297741233720738371597041340181455540920812163188596
Token Standard
ERC-1155
Description
It is one of Goya’s most obvious criticisms of arranged marriage. The bowing man on the left, a rich, elderly, supposedly gentleman, contently inspects who will be his future wife: the young and unhappy woman on the right. His glance does not care for her face and how she may perceive him; he is rather focused on her chest and will marry her for her young and beautiful body and not for her heart. Next to the young bride stands her mother in despair, perfectly aware of the unhappiness this marriage will bring to her daughter’s life but unable to change the situation. The father of the bride is the tall gentleman on the left, determined to push this union forward; or is he raising his hand to scold the future son-in-law for his openly frivolous behavior? Either way, he won’t save his daughter either and is most likely the promoter of the project to marry the young woman off to a rich, old man to eventually benefit from his belongings. However, it is not all his fault. Back then, striking a deal like this was often the only way to ensure the survival of the family and Goya illustrated this dilemma in the father’s ambiguous facial expression. Then there is a fifth figure in the scene, the priest, who stands right between the father and mother. While one can find doubts in the father’s approval of the orchestrated arrangement, there is no question that the priest endorses it. The destiny of the young woman is decided by her closest ones and the man in power, the priest, who could save her from this misery, is not only an onlooker but also an accelerator of the tragedy. Goya not only criticized the sacrifice that the family endures, be it willfully or not: he also, and above all, condemned those who are able to prevent misery and help someone in need but choose not to.It is one of Goya’s most obvious criticisms of arranged marriage. The bowing man on the left, a rich, elderly, supposedly gentleman, contently inspects who will be his future wife: the young and unhappy woman on the right. His glance does not care for her face and how she may perceive him; he is rather focused on her chest and will marry her for her young and beautiful body and not for her heart. Next to the young bride stands her mother in despair, perfectly aware of the unhappiness this marriage will bring to her daughter’s life but unable to change the situation. The father of the bride is the tall gentleman on the left, determined to push this union forward; or is he raising his hand to scold the future son-in-law for his openly frivolous behavior? Either way, he won’t save his daughter either and is most likely the promoter of the project to marry the young woman off to a rich, old man to eventually benefit from his belongings. However, it is not all his fault. Back then, striking a deal like this was often the only way to ensure the survival of the family and Goya illustrated this dilemma in the father’s ambiguous facial expression. Then there is a fifth figure in the scene, the priest, who stands right between the father and mother. While one can find doubts in the father’s approval of the orchestrated arrangement, there is no question that the priest endorses it. The destiny of the young woman is decided by her closest ones and the man in power, the priest, who could save her from this misery, is not only an onlooker but also an accelerator of the tragedy. Goya not only criticized the sacrifice that the family endures, be it willfully or not: he also, and above all, condemned those who are able to prevent misery and help someone in need but choose not to.
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