Based on Greek mythology, Saturn was a Roman god with origins from the Greek god Kronos or Cronus. He devoured his children to prevent a prophecy, that one of his sons would supplant him, from coming true.

Moreno de las Heras, Margarita, Goya: pinturas del Museo del Prado, Museo del Prado, Madrid, 1997, pp. 316-319, n. 113.In 1874, Baron Frédéric Émile d’Erlanger started the project for the paintings’ removal and placement onto canvas; he bought the house in 1873. The Baron donated the paintings to the Museo del Prado around 1880/1881 after exhibiting them at the Exposition Universelle in Paris in 1878. Saturn has been represented in various ways throughout art history. In classical art, Saturn was often depicted as an elderly man with a scythe, representing the passage of time and the harvest. He was also sometimes depicted as a god of agriculture, with a cornucopia or other agricultural symbols. Francisco José de Goya y Lucientes, more commonly referred to as Francisco de Goya, was born on March 30, 1746, in a small town called Fuendetodos. He passed away on April 16, 1828, at 82 years old. Starting out as a boy of 14, Goya studied art in Spain and Italy before becoming a public painter in the city of Zaragoza. Bold brushstrokes: Goya's paintings have a loose, fluid quality to them, with brushstrokes that are sometimes visible on the surface of the canvas. This technique gives his works a sense of energy and immediacy.

Díaz Padrón, Matías, Museo del Prado. Catálogo de pinturas. Escuela flamenca, Museo del Prado; Patrimonio Nacional de Museos, Madrid, 1975, pp. 259. Quelle que soit la volonté de l’artiste, cette fresque est extrêmement moderne. A un moment où un Néo-classicisme précis et lumineux domine, il peint avec une touche libre, une palette restreinte et une grande violence. Avec cette image sombre, Goya pose les jalons du Romantisme noir. Barrio-Garay, J. L., Antropofagia y hematofagia en la iconografía de Goya. En: Goya: nuevas visiones: homenaje a Enrique Lafuente Ferrari, Amigos del Museo del Prado, Madrid, 1987, pp. 87-88. Camón Aznar, José, Francisco de Goya, IV, Caja de Ahorros de Zaragoza, Aragón y Rioja, Zaragoza, 1982, pp. 127-128, 130-131.

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Line in art can be organic or geometric, and it determines the overall shape and form of the subject matter. Sometimes, compositions can have dark and bold outlines and sometimes the lines blend to create a more naturalistic form, providing the “definition” for the form.