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 gaze 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. He won a prize in a painting competition in Parma and 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 style. 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 a worried heart.

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 later fantasy 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, with soft limbs of the scarecrows and the absent-minded expressions of the "girls". 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, is the Duchess's summons to Goya. It often happens when Goya is on an errand with the King or Queen - and has no intention of confronting the Queen. , but Goya's passion was unbearable, 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 sneak 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 towards 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."

Goya believed that Rembrandt, Velazquez and nature influenced him.

Rembrandt created almost all the techniques of etching. Rembrandt's etchings are about finesse, while Goya made full use of the movement, mood and atmosphere that a single tone can create.

The paintings of madmen and fools that were popular in the Middle Ages are also another theme of Goya's paintings. Obviously, this is a "territory" outside of divine authority, and it is also a relatively free area of ??artistic expression. The heretic court ruled that no nudes could be painted, and the feet of the Virgin could not be painted. And under the guise of showing the madness of the madhouse, nakedness can be displayed. The faces of fools described by Bossi and Bruegel are distorted and ugly. They also show the causes and consequences of their actions on the screen, highlighting the fool's lack of intelligence. The madman described by Goya has a body as strong as a classical stone sculpture, and is also inspired by life. Full of juice, they sang or howled, and their madness was more like a situation imposed on them by the outside world, a kind of fate that could only be like this. Foucault said in "Madness and Civilization" that the situation of mad people became very bad in the 18th century. Hundreds of years ago, madmen in Europe were sometimes regarded as mysterious prophets, mouthpieces of some kind of dark wisdom. Madmen and lepers were herded into hospitals, put in chains and straitjackets, bled, and given medicine to make them normal again. Although it is unclear what emotions drove Goya to paint, the oppression, shackles, high walls, strong walls and the madman's complacency and self-sufficiency, the misery of the situation, and the mysterious and unknowable atmosphere are so tightly combined in the painting , giving the audience a complex impact of high concentration and intense conflict.

In 1814, Napoleon was defeated and Spain returned to the hands of Ferdinand VII. The new king did not find trouble with Goya, but he wanted Goya to paint a painting showing the suppression of the Spanish resistance by the Bonaparte dynasty in 1808. Goya painted two paintings. There are traces of Rubens in the composition of the first painting: the massacrer on the screen, a dark-skinned Egyptian Mamluk slave mercenary, is facing the audience. The collapsed body is the posture with his hands spread out that he often used in prints. , there is also the heroism of Spanish youths who pull cavalry off their horses. However, Goya was not satisfied with this painting, so he painted a second one, "May 3rd".

There is no other painting in the history of painting that can express the suppression of civilians by powerful forces so clearly and directly, without making any detours, telling a story, or posing. Perhaps it was this painting that made many people like Goya.

Comparing "May 3" and "May 2", we can see that in the latter painting Goya abandoned his attempt to tell a story and make a historical painting. The clothing and racial characteristics of the characters have been simplified and arranged according to the needs of the composition. The darkness also obscures the background and context of the times, and all spiritual elements are integrated and divided into two opposing camps.

The army and soldiers form a strict party. Military caps, military uniforms, backpacks, military 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 center of sight in the picture. The dead and the dying people form another side, either lying on the ground like a piece of flesh without shape and life; or hiding their faces unable to face the last fear, or only having the last physiological reaction of opening their arms. Comparing the strictness of the powerful with the irregular shape of the weak, the contrast between the strength and weakness of the two parties is enhanced through visual schemas. There are similar examples in the ancient reliefs of Egypt and Babylon. However, the protagonists of "May 3rd" are the people whose lives were taken away. Their suffering forms an irrevocable indictment. It is both instantaneous and eternal. The unsurpassed artistic effect of this painting makes it inevitable for contemporary propaganda posters to use it as a design material.

Perhaps because of his deafness, Goya was particularly sensitive to his mouth. The mouths of the characters in his paintings are anything but similar. The mouth in a painting is like a mysterious silent cave, slightly pursed, sarcastic, moaning, questioning, and howling. The content is unknown, but it presents a new interpretation of the character's expression. Goya called his house the "Deaf House" and gradually lived in seclusion. He painted more than 20 murals on the walls, which are called "black paintings".

In 1824, Goya settled in Bordeaux, France, and died four years later. Since the 19th century, many painters have been influenced by Goya, such as Daumier, Manet, and Picasso. There's a reason they took their cues from Goya. Europe, especially Paris, has too many painting traditions. They need the brute force of Goya to break through. They need the roughness, wildness, and masculinity to scare the elegant middle class. However, Goya's power cannot be instrumentalized. It is simple and powerful, but stubbornly resides in the center of graphic expression, refusing to be alienated into the category of ideology. In the last few years, he left some sketches. The human body and movements always interested him the most, and his mind and body, which were full of emotional turmoil, slowly calmed down.