Goya (1746~1828), an outstanding Spanish oil painter and printmaker. Born in Findtors, near Zaragoza, in the province of Aragón, to a family of gilders. He has been passionate about painting since he was a child, and once entered Martinez's studio to learn how to paint icons. He arrived in Italy in 1768 and extensively studied the painting techniques of painters from various schools in history. He was a very comprehensive patriotic painter and created a large number of works throughout his life. His representative works include "The Family of Charles IV", "The Clothed Maha", "The Naked Maha", "The Shooting of the Rebels on the Night of May 3, 1808", "Giant", etc. Born on March 30, 1746 in the village of Fuente Todos near Zaragoza. His father was a poor altar gilder, and his mother was born into a poor aristocracy.
In 1760, Goya moved to Zaragoza with his parents and was sent to the school of the monk Heazin.
Study. Zaragoza is a city with strong folk customs and a rich tradition of struggle. The local customs and folk customs here had a great influence on Goya and formed his strong and unyielding temperament.
Going to Italy in 1770.
In 1771, he won the second prize in the competition of the Balm Academy of Arts with the painting "The Victor Hannibal Inspecting the Land He Conquered from the Alpine Highlands". In the same year, he returned to his motherland and began painting murals in the church in his hometown.
After 1771, Goya studied painting in the studio of José Ruzan y Mardenez, a painter of the Neapolitan school.
In 1775 (conflict with the above), he returned to Madrid and married there. His wife was Hosefa, the sister of his good friend, the painter Francisco Baiyewu.
In 1776, through Bayiou's introduction, Goya accepted the task of drawing the first Gobelin tapestry patterns from Anton Raphael Mens for the Royal Santa Barbara Weaving Factory.
In 1779, he was received by King Charles III.
In 1780, he was elected to the academy.
1780-1781 Goya got rid of Bayou's guardianship.
In 1784, he first won official praise for an oil painting depicting St. Bernardine Sienese preaching in front of Ariphonse Aragon.
In 1785, Goya already had a certain official status and served as vice president of the College of San Fernando. In 1876, he served as the art foreman of the Royal Weaving Factory.
In 1789, he was awarded the title of court painter.
After 1790, Goya enjoyed a high reputation.
In 1792, Goya fell seriously ill and lost his hearing.
In 1803, King Charles IV accepted Goya's gift of "Rhapsody". He also gave his only son a pension and enabled Goya to protect himself from the persecution of the Inquisition.
After 1808, when Spain was occupied by Napoleon's army, he created a number of tragic works full of passion and realistic expression.
In 1824, Goya spent the last four years in the center of the Spanish Free Diaspora in Bordeaux, France.
Died of illness on April 16, 1828, at the age of 82. At the age of 46, Goya became deaf. It’s not the severe tinnitus like Beethoven’s, nor the half-deafness of the British painter Renaldo, but the total deafness of deathly silence. In the noisy Madrid, before his eyes were the silently flowing and jumping crowds. At a party held by aristocratic women, there are flashing clothes, swaying figures, opening and closing lips, swallowing wine, chewing delicacies, sarcastic curls, teeth-baring smiles, facial expressions, and drunken dancing. , a dance full of passion. He could no longer understand the world through the words he heard - he could only stare deeply at these floating and jumping images, using his gifted sharp eyes.
After Goya became deaf, he was still very popular among Spanish aristocratic women. He was a court painter, and he was almost overwhelmed with requests from nobles for portraits. Women especially liked him. In their eyes, Goya was not only a painter, but also a man. This wayward ethos was partly inherent in Spain, and partly because Queen Marie Luisa had many favors semi-openly, and Emperor Charles IV did not mind. Aristocratic marriage is the product of a power alliance, on the side of which strong feelings openly exist. With the example of the two His Highnesses, many romantic affairs will inevitably occur in the upper class society.
Goya's status was also brought to him by marriage-his brother-in-law Francisco Baie was an academician of the Academy of Sciences and the king's chief painter. At the age of 20, Goya did not pass the Royal Academy of Arts in Madrid, so he went to Italy to study painting. After winning a painting competition in Parma, he returned to Spain to learn painting from Baier. At the age of 29, Goya married Josephine Baier. Francisco Baie believed in classicism and was familiar with Vindman's art history. He appreciated Goya's talent, so he often criticized Goya's seemingly lack of control in his painting methods. However, he brought Goya to the capital Madrid and helped him win a contract to design royal tapestries. The year Baiye died, Goya painted his portrait. The portrait does not reflect much dignity and achievements, but an ordinary person with a dull brow and worry.
Although the series of murals Goya did for the palace imitated the Rococo style - this may have been the queen's request. Marie Louisa from Italy looked down on the French, but ordered large quantities of clothes from Paris every year , ointments, decorations. The character models in the painting are aristocratic men and women wearing the clothes of common women (Maha) and common men (Mayo), singing, dancing and playing games. Although everything is indispensable for showing off, Goya's own style can't help but show off. Kenny Clark pointed out that the characters' forced laughter expressions and puppet-like stiff movements, as well as the purely Spanish gloomy landscape, were the forerunners of future rhapsodic paintings.
Majo and Maja in Madrid are similar to the stubborn ones in Beijing. They are proud to speak the pure and gorgeous Castilian language, proud to be well-dressed and elegant, and proud to be a member of ancient Spain. Their Spain is stoic, strong, bloodthirsty and proud. People like violent entertainment. Not only men must be brave, but women must also be very masculine. When Goya was young in Madrid, he dressed as Mayo for four years. Shorts, a wide belt, a cloak, a wide-brimmed hat that almost covered his face, and a short knife in his socks. He is a Mayo at heart. In his paintings, the appearance, movements, and emotional reactions of these nobles dressed as common people are all fake.
In one painting, ladies dressed as civilian girls are throwing scarecrows. The scarecrows have soft limbs and the "girls" have absent-minded expressions. There is nothing real beneath the joy of performance. Goya's astonishing grasp of falsehood and emptiness permeates the canvas almost unconsciously. Hypocrisy is something beyond his ability, but the women's graceful postures, rosy faces, and light movements can also please the audience.
The Duchess of Alba is a Spanish beauty and probably the most willful woman in Spain. She openly went to pubs with Goya in urban areas, watched plays, and had meals. She also went to Goya's studio to have a tryst with him. Her husband was the Marquis of Florida Blanca, and after their marriage, he used his wife's title to become the Duke of Alba. The Duke was of a delicate temperament and an even weaker body, but his sudden death still aroused much discussion in Madrid. Rumor has it that one of the Duchess's lovers, a medical doctor, was responsible.
Goya’s formal portraits of Alba always seem estranged. Although the colors are neat and flowing, the human character is not revealed. The perfection of technique and model become a barrier. One painting shows a woman's hand clearly pointing to Goya's signature on the ground - seemingly confirming the connection between the two.
The conflict between Goya and the Duchess, according to the novelist, was the Duchess’s summons to Goya. It often happened when Goya was on errands with the King and Queen - and had no intention of confronting the Queen. , but Goya's passion was uncontrollable, and the Duchess attracted his soul. He did not hesitate to make up an excuse that his youngest daughter was ill, and instead of thinking about his future as a court painter, he used excuses to slip away and go to the appointment. Later, Goya's youngest daughter fell ill and died. Goya fell into pain and thought it was his punishment. The Duchess was hot and cold to him, and there were other young talents around her, which made Goya's emotions feel like a roller coaster and he couldn't control himself. The face of the Duchess is the true face that Goya saw: "It is the true face of her beautiful, proud, very hypocritical, very innocent and very lustful face, the embodiment of pleasure, temptation and hypocrisy.
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