L'œuvre apparaît dans le bureau de Bretton James dans le film Wall Street: L'argent ne dort jamais d' Oliver Stone. García Gual, C., 'Relato mítico y momento pictórico. Rubens y Ovidio'. En Historias inmortales, Barcelona, 2003, pp. 281-298.

Antecámara de Princesa [...] 1004 - 1007 / Torre de la Parada = Dos iguales el vno de Saturno comiendose vn niño y el otro de Jupiter convertido en aguila robando a Ganimedes de dos varas y quarta de caida y vara de ancho escuela flamenca. Saturn Devouring His Son can be seen as a reflection of the violence and horror that Goya witnessed during this period, as well as a critique of the abuses of power and the destructive nature of patriarchy. The painting's themes of brutality, oppression, and insanity are all deeply relevant to the political and social context of Goya's time. Garrido, Mª del C., Algunas consideraciones sobre la técnica de las Pinturas Negras de Goya, Boletín del Museo del Prado, V/13, 1984, pp. 4-7. Again and again, ‘Saturn Devouring His Son’ can represent the powerlessness, circumvention of consent and emotional numbness which so troubled Goya: it’s also become a very well-known painting, ironically, but it’s certainly one which resonates with many, and if not quite as ubiquitous as Munch’s Scream, there’s something about Goya’s painting which has given it lasting appeal, making it recognisable nearly two centuries after it was created. You can also see echoes of it in unusual places: Ilya Repin’s painting of Ivan the Terrible and His Son has the same blank dread in Ivan’s expression, and Spanish filmmaker Guillermo Del Toro gives a nod to Goya’s Saturn in Pan’s Labyrinth, his own fantasy-satire of Spain at war.Tintoretto: Christ Washing the Disciples' Feet – Joseph and Potiphar's Wife – Judith and Holofernes (by his studio) – The Washing of the Feet has become burdensome. Hung in the same room in Goya's house, the 'Quinta del Sordo', Saturn also accompanied a witches' sabbath; Judith and Holofernes, the emblem of the irresistible woman; and a portrait of a girl, thought to be Goya's Goya had witnessed famine, poverty and cruelty, from Napoleon’s invasion of Spain and Ferdinand’s Inquisition. And, significantly, he had painted man’s inhumanity to man before in his famous May 1808 paintings and in his previous “ The Disasters of War” series. Now, it seemed, Goya merely returned to this theme, in isolation and at liberty to paint what he wanted in secret. Interestingly, Goya depicted the two victims as adult men, and not infants, which is echoes the adult figure in his later mural. Additionally, the figure of Saturn appears malevolent in his manner, his eyes are fixed, and he has an unsettling smile or grimace while he eats the figure. Saturn also has the same untidy hair. Rose-Marie Hagen et Rainer Hagen, Francisco Goya: 1746-1828, Cologne, Taschen, 2003, 96 p. ( ISBN 978-3-8228-1822-0)

Sánchez Cantón, Francisco Javier, Goya y sus Pinturas Negras en la Quinta del Sordo, Rizzoli; Vergara, Milán; Barcelona:, 1963, pp. 49, 69-83.Földényi, F. László, Goya y el abismo del alma, Galaxia Gutenberg; Círculo de Lectores, Barcelona:, 2008. Sánchez Cantón, F. J., Vida y obras de Goya, Editorial Peninsular, Madrid, 1951, pp. 35, 37, 68, 160, 167. Herrero Carretero, C., Un escenario real para la vida popular: Los tapices de Goya en los palacios de jornada de Carlos IV, Jornadas de Arte e Iconografía sobre Carlos IV y el arte de su reinado, Madrid, 2011, pp. 375. the most striking of these panels, Saturn, sometimes referred to as "Saturn devouring one of his children." Beth: It had been prophecized