The Third of May 1808

The Third of May 1808 is a painting completed in 1814 by the Spanish master Francisco Goya, now in the Museo del Prado, Madrid. In the work, Goya sought to commemorate Spanish resistance to Napoleon's armies during the occupation of 1808. Along with its companion piece of the same size, The Second of May 1808 (or The Charge of the Mamelukes), it was commissioned by the provisional government of Spain at Goya's suggestion.

On 2 May 1808, provoked by news of the planned removal to France of the last members of the Spanish royal family, the people of Madrid rebelled in the Dos de Mayo Uprising. The Third of May illustrates the French reprisals: before dawn the next day hundreds of Spaniards were rounded up and shot, at a number of locations around Madrid.

The Third of May 1808 is set in the early hours of the morning following the uprising and centers on two masses of men: one a rigidly poised firing squad, the other a disorganized group of captives held at gun point. Executioners and victims face each other abruptly across a narrow space; according to Kenneth Clark, "by a stroke of genius [Goya] has contrasted the fierce repetition of the soldiers' attitudes and the steely line of their rifles, with the crumbling irregularity of their target." A square lantern situated on the ground between the two groups throws a dramatic light on the scene. The brightest illumination falls on the huddled victims to the left, whose numbers include a monk or friar in prayer. To the immediate right and at the center of the canvas, other condemned figures stand next in line to be shot. The central figure is the brilliantly lit man kneeling amid the bloodied corpses of those already executed, his arms flung wide in either appeal or defiance. His yellow and white clothing repeats the colors of the lantern.

On the right side stands the firing squad, engulfed in shadow and painted as a monolithic unit. Seen nearly from behind, their bayonets and their shako headgear form a relentless and immutable column. Without distracting from the intensity of the foreground drama, a townscape with a steeple looms in the nocturnal distance, probably including the barracks used by the French. In the background between the hillside and the shakos is a crowd with torches: perhaps onlookers, perhaps more soldiers or victims.

The painting's content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, The Third of May 1808 marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian Kenneth Clark, The Third of May 1808 is "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention".

The Third of May 1808 has inspired a number of other major paintings, including a series by Édouard Manet, and Pablo Picasso's Massacre in Korea as well as his masterpiece Guernica.