Transition of Saint Joseph (El tránsito de San José)

As in the case of the Christ on the Cross in the San Fernando Academy, now in the Prado Museum, this set of works is steeped in controversy. Many of the artist's critics decried the lack of religious feeling, the vulgarity and lack of vitality of religious works that they felt were executed without feeling, as a craftsman and not as an artist. Camón Aznar did believe Goya's talent to shine through in these works, praising the chromatic shading, chiaroscuro, the grandiosity of the figures, which he described as natural, and the idea of religious feeling which Goya has during this phase, reminiscent of the art of Mengs's circle and the Italian school. Sánchez Cantón insists that this set of works mark Goya's maturing as a religious painter.

In this image, we see Mary and Jesus accompanied by the lifeless body of Joseph, who died at the age of 111, according to traditional accounts. Mary gazes at her son with a pained expression, while Jesus extends his arms in a gesture of prayer, asking God to take Joseph to his side.

The Transition of Saint Joseph is characterized by strong contrasts of light and shade. A divine ray of light illuminates the scene from the top left-hand corner, as if it came from a lantern hung in the church itself, bathing the body of Joseph in light while leaving other areas of the composition in gloom, giving an austere feel to the work. The other highlighted areas in the scene are the halos above the heads of Jesus and Mary.

As in the Annunciation, the faces in this painting have classicist features and the figures are monumental, once again shown from a low viewpoint. In terms of the colours used, the blue of the Virgin's mantle, the yellows of Joseph's dress, the grey of Jesus' tunic and the white of the sheet contrast with each other in a subtle harmony reminiscent of grisaille work, contributing to the sadness of the scene. The folds of their clothing fall naturally. Thanks to Sambricio, we know that among the materials received by Goya to carry out the work (oils, pigments, and so on) there were "twenty-three varas of holandilla linen in Blue and Crimson to make a mantle and a tunic" and the services of a seamstress, which suggests that Goya probably studied mannequins for this work, as it is supposed that he did for his large-format paintings.

The set of works as a whole gives off a sober feel, integrating perfectly with the architectural surroundings.

The geometric composition is also sober and of an "architectural style", as Goya himself commented, here expressed by the vertical line of Christ's posture, the diagonal represented by Mary, and the horizontal line of Joseph's body. The forms are given a very plastic feel by the ordered hanging of the fabrics and their monumentality, their sculptural treatment.

Since Goya's father had died shortly before this painting was produced, it has been posited that this work was intended as an idealized portrait of the artist as the Redeemer with his parents, whose physical appearance is not known to us. Although the composition could be said to be cold and solemn, the emotions expressed by the figures denote a personal interest in the subject which adds to the sadness of the scene.