Goya is still very popular among Spanish aristocratic women after hearing loss. He is a court painter, and the nobles are almost drowned by his portraits. Women especially like him. In their eyes, Goya is a painter, but also a man-this wayward atmosphere is partly inherent in Spain, and partly because Queen Mary Louisa has many semi-public minions, and Emperor Charles IV doesn't mind. Aristocratic marriage is the product of power alliance, and on this side, strong feelings exist openly. There are two examples of your highness, and there are many affairs in the upper class.
Goya's position was also brought to him by marriage-his brother-in-law Francisco Bailly is an academician of the Academy of Sciences and the chief painter of the king. Goya, 20, went to Italy to study painting and was not admitted to the Royal Academy of Art in Madrid. He won a prize in a painting competition in Palma and returned to Spain to learn painting from Bey. At the age of 29, Goya married Josephine Bey. Francisco Baie believes in classicism and is familiar with Wyndman's art history. He appreciates Goya's talent, so he often criticizes Goya's seemingly uncontrolled paintings. However, he took Goya to Madrid, the capital, and helped him win the contract to design the royal tapestry. Goya painted a portrait of Baie the year he died. The portrait does not reflect much honor and achievement, but an ordinary person with a frown and a heavy heart.
The series of murals designed by Goya for the palace, although imitating the rococo style-this may be the queen's request, Mary Louisa from Italy despises the French, but she orders a large number of clothes, ointments and decorations from Paris every year. The characters and models in the painting are aristocratic men and women dressed in civilian women (Maha) and civilian men (Mayo), singing and dancing games. Although everything is indispensable, Goya's own style can't help showing his head. Kenny Clark pointed out that the characters' forced smiles and puppet-like rigid movements, as well as the gloomy scenery in pure Spanish style, are the harbingers of crazy painting in the future.
Majo and maja in Madrid are similar to stubborn masters in Beijing. They are proud to speak pure and gorgeous castel, to be well-dressed and beautiful, and to be part of ancient Spain. Their Spain is patient, powerful, bloodthirsty and proud. People like wild entertainment. Not only men should be brave, but also women should be very manly. Goya spent four years dressing up as Mayo in Madrid when he was young. Shorts, a wide belt, a cloak, a wide-brimmed hat that can almost cover your face, and a short knife on your socks. He is essentially a mayonnaise. In his paintings, these nobles dressed as civilians are real in appearance, movements and emotional reactions.
In one painting, ladies dressed as ordinary girls throw scarecrows, whose limbs are soft, and "girls" are absent-minded. There is nothing real under the joy of performance. Goya's amazing grasp of falsehood and emptiness almost unconsciously penetrated into the canvas. Hypocrisy is beyond his power, but women's elegant posture, rosy face and light movements can also please the audience.
The Duchess of Alba is a Spanish beauty and probably the most headstrong woman in Spain. She openly went to bars in civilian areas with Goya, went to the theatre and had dinner, and she also went to Goya's studio to meet him. Her husband is the Marquis of Blanca, Florida. After marriage, he became the Duke of Alba with the title of wife. The duke was weak and physically weak, but his sudden death caused a lot of discussion in Madrid. Rumor has it that it was a lover of the Duchess, a doctor of medicine.
Goya's official portraits of Alba always seem to be separate. Although the colors are neat and gorgeous, people's personality is not revealed. The perfection of skills and models has become a barrier. A woman's hand in a painting clearly points to Goya's signature on the ground-this seems to confirm the connection between the two.
According to the novelist, the conflict between Goya and the duchess is the duchess's call to Goya, and it is often when Goya has an errand with the king and queen-not to say that he wants to fight against the queen, but Goya's lust is irresistible, and the duchess takes away his soul. He didn't hesitate to make up an excuse that his little daughter was ill and didn't think about his future as a court painter, and then slipped away for an appointment. Later, Goya's little daughter really got sick and died. Goya was in pain and thought it was his punishment. The duchess was hot and cold to him, and there were other young talents around, which made Goya feel like riding a roller coaster. The Duchess's face is the real face Goya saw: "It is the real face of her beautiful, arrogant, very hypocritical, very naive and very slutty face, and it is the embodiment of pleasure, temptation and hypocrisy."
Goya thinks Rembrandt, Velazquez and nature all influenced him. Rembrandt has created almost all the techniques of copperplate. Rembrandt's copperplate is fine, and Goya makes full use of the movement, artistic conception and atmosphere that can be created by a single tone.
The paintings of lunatics and fools prevailing in the Middle Ages are another theme of Goya's paintings. Obviously, this is a "territory" other than theocracy, and it is also a relatively free field of artistic expression. The heretical court ruled that you can't paint naked or the feet of the virgin. You can be naked under the guise of showing the madness of the madhouse. Bos and Bruggaier's fools' faces are twisted and ugly, and they also show the cause and effect of their actions on the screen, which highlights the lack of intelligence of fools. The crazy people in Goya's works are as strong as classical stone carvings and full of the juice of life. They sing or scream, and madness is more like a situation imposed on them by the outside world, a fate that can only be so. Foucault said in "Madness and Civilization" that18th century the situation of crazy people became very bad. Hundreds of years ago, European lunatics were sometimes regarded as mysterious prophets and spokesmen of some dark wisdom. Madmen and lepers were rushed to the hospital, shackled, put on tights, bled and took medicine to restore them to normal. Although it is impossible to verify what emotions drove Goya to draw, such as depression, shackles, high walls, rigid walls and the complacency of madmen, the tragic situation and mysterious and unknowable atmosphere are so closely combined in the picture, which gives the audience a highly concentrated, intense and complex impact.
18 14, Napoleon was defeated and Spain returned to Ferdinand VII. The new king didn't bother Goya, but he wanted Goya to draw a picture of the Bonaparte dynasty suppressing the Spanish resistance in 1808. Goya painted two pictures in succession. The first composition shows Rubens' traces: the butcher in the picture-a dark-skinned Egyptian Mamukslave mercenary facing the audience, his collapsed body is his usual gesture of spreading his hands in prints, and there are also Spanish youths who are brave soldiers dragging the cavalry down from their horses. However, Goya was not satisfied with this painting, so he drew a second one, May 3rd.
No painting in the history of painting can clearly and directly show the oppression of power on civilians, without going around, telling stories or posing. Perhaps it is this painting that makes many people like Goya.
Comparing May 3rd with May 2nd, we can see that Goya gave up his attempts to tell stories and draw historical pictures in the latter painting. The costumes and national characteristics of the characters were simplified and arranged according to the needs of composition. Darkness also hides the background and context of the times, and all spiritual elements are fused together and divided into two opposing camps.
The army and soldiers formed a strict side. Military caps, uniforms, backpacks, boots, bayonets and guns are unified in an abstract, firm and orderly form. The light from the lantern on the ground shines directly on the victim's white shirt, forming the strongest line of sight center of the picture. Dead and dying people form the other side, or are knocked unconscious, such as a piece of meat without shape and life; Either you hide your face and can't face this last fear, or you just have the last physiological reaction with open arms. Contrast the rigor of the strong with the irregular shape of the weak, and enhance the contrast between the two sides through visual schema. There are similar examples in ancient reliefs in Egypt and Babylon. However, the protagonist of "May 3rd" is the person who was taken away from life. Their suffering formed an irreparable complaint. It is both instantaneous and eternal. The unparalleled artistic effect of this kind of painting makes it inevitable for contemporary posters to requisition it as design material.
Perhaps because of deafness, Goya is particularly sensitive to his mouth. The mouths of the characters in his paintings are by no means similar. The mouth in a painting is like a mysterious silent cave, sipping, mocking, groaning, questioning and howling. The content is unknown, but it presents a new interpretation version of the character's expression. Goya called his house a "home for the deaf" and gradually lived in seclusion. He painted more than 20 murals on the wall, which are called "black paintings".
1824, Goya settled in Bordeaux, France, and died four years later. Since19th century, many painters have been influenced by Goya, such as Du Miai, Manet and Picasso. There is a reason why they draw nutrition from Goya. Europe, especially Paris, has too many painting traditions. They need to use Goya's brute force to break through, and they need to be rough, wild and masculine to scare the elegant middle class. However, Goya's power cannot be instrumentalized. It is simple and powerful, but stubbornly lives in the center of graphic expression and refuses to be alienated into an ideological category. He has left some sketches in the past few years. People's body and movements always arouse his interest most, and his body and mind full of emotional turmoil gradually calm down.