Goya: Bridging Baroque and Rococo Art
弗朗西斯科·戈雅(Francisco Goya)(1746–1828)，西班牙最具影响力的画家之一，也是一位承前启后式的人物。他的画风奇异多变，很难用一种风格来定义。
Francisco Goya (1746–1828), one of the most influential painters in Spain, is a figure who inherited the past and introduced the future. His style is bizarre and changeable, sometimes there’s no accurate ism to describe.
戈雅1746年出生于西班牙萨拉戈萨附近的村庄，家境贫寒，也并未受过正规的教育。14岁时跟随何塞·卢赞·马尔蒂尼斯(José Luzán y Martínez)学画，迈出了成为画家的第一步。
Goya was born in a village near Zaragoza, Spain in 1746. He wasn’t in good economic condition and so didn’t no formal education. At the age of 14, he studied painting with José Luzán y Martínez and took the first step to become a painter.
《阳伞》是戈雅挂毯系列作品中最为精致的一件。画面中的年轻女士穿着打扮十分精致，膝上趴着一只安静的小狗，身边一位穿着普通的年轻男士手拿阳伞为女子遮阳。画面颜色鲜艳，充满青春和活力。
“The Parasol” is the most delicate piece of the Goya tapestry series. The young lady in the picture is very exquisitely dressed, with a quiet puppy lying on her lap, and a young man wearing an ordinary umbrella beside him holding a parasol to shade the woman. The picture is brightly colored, full of youth and vitality.
1786年，戈雅成为了西班牙王室的宫廷画家，他为西班牙贵族以及皇室绘制了一系列肖像作品，以及带有洛可可风格的壁毯画稿。
In 1786, Goya became a court painter of the Spanish royal family. He painted a series of portraits for the Spanish nobility, the royal family, and rococo-style tapestries.
卡洛斯三世（作为西班牙国王的统治时间：1759–1788）拥有杰出的治国才干，知人善任，政绩出色，生活中待人亲和，喜爱打猎，于是戈雅为这位深的民心的国王绘制了《身着猎装的卡洛斯三世》，画面中的卡洛斯三世英姿飒爽，面带微笑。
Carlos III (ruling time as the king of Spain: 1759–1788) has outstanding talents for governing the country, knows good people, has excellent political achievements, treats people with kindness in life, loves hunting, so Goya painted for this deep-hearted king “Carlos III in Hunting Costume”, Carlos III in the picture is brave and smiling.
卡洛斯三世去世之后，他的儿子卡洛斯四世继承王位（作为西班牙国王的统治时间：1788–1808），但这位国王与他的父亲截然不同。卡洛斯四世是一位目光短浅、听信佞臣的庸人，他做出了一系列错误决策，使得西班牙遭受到了巨大的危机。
After the death of Carlos III, his son Carlos IV inherited the throne (time of reign as king of Spain: 1788–1808), but the king was very different from his father. Carlos IV was a short-sighted and trustworthy servant. He made a series of wrong decisions and caused Spain to suffer a huge crisis.
1800年戈雅为卡洛斯四世一家13人绘制肖像画，但数字13在基督教中是不吉利的，于是他借鉴了《宫娥》，将自己画入了画面左侧的阴影中。戈雅按照国王的指示，将整个画面描绘的金光闪闪，以显示王室的尊贵和奢华。国王看到这幅作品，大喜过望，将“王室第一画师”的称号赐予戈雅。殊不知，戈雅表面上是在描绘国王一家的尊贵，实际上则是在讽刺国王的无知和傲慢。画像中的卡洛斯四世身材肥胖、目光单纯，毫无城府，而画面正中央的王后看上去精明能干，嘴角上翘，笑容中甚至带有一丝阴险，与国王形成鲜明的对比，这似乎是在暗示实权实际是掌握在王后手中。这一家人披金戴银，仿佛暴发户进城，毫无王室的尊贵气质。但也有评论家认为，所谓“暴发户”气质是由于人物本身气质带来的刻板印象，戈雅并未对人物进行丑化或美化，只是单纯的展现出了人物的真实面目。
In 1800, Goya painted portraits for 13 people of the Carlos IV family. Still, the number 13 was unlucky in Christianity, so he borrowed “Las Meninas” and painted himself on the screen’s left. In the shadow on the side. According to the king’s instructions, Goya shone the golden light of the whole picture to show the nobility and luxury of the royal family. The king saw this work and was overjoyed and gave Goya the title of “the first painter of the royal family”. As everyone knows, Goya is portraying the nobility of the king’s family, in fact, satire the king’s ignorance and arrogance. The portrait of Carlos IV has a fat body, simple eyes, and no city. The queen in the center of the picture looks smart and capable, with a corner of her mouth and a smile of indulgence, which is in sharp contrast with the king. This seems to be It implies that the real power is actually in the hands of the queen. The family was wearing gold and silver, as if nouveau riches entered the city without the royal family’s noble temperament. However, some critics believe that the so-called “upstart” temperament is due to the stereotype of the character’s own temperament. Goya did not uglify or beautify the character, but simply showed the true face of the character.
但可以肯定的是，戈雅绝对是一个十分勇敢的画家。
But what is certain is that Goya is definitely a fearless painter.
“马哈”在西班牙语中意为漂亮的女子。这幅《裸体的马哈》被认为是西方绘画史上第一幅面向前方真人大小的女性裸体像(the first totally profane life-size female nude in Western art)。画面中的女子直视前方，眼神挑逗，双手放于头后，姿态舒展。戈雅为何而画？画面中的女性与戈雅是什么关系？这些问题至今仍无定论。但大众普遍认为戈雅是受西班牙首相曼努埃尔·戈多伊(Manuel de Godoy)所托，画面中的女子则为戈多伊的情妇佩皮塔·图多(Pepita de Tudó)。
“Maja” means beautiful woman in Spanish. This “La maja desnuda” is considered the first totally profane life-size female nude in Western art in the history of Western painting. The woman in the picture looks straight ahead, her eyes teasing, her hands behind her head, her posture stretched. Why did Goya paint this? What is the relationship between the women in the picture and Goya? These questions are still inconclusive. But the general public thinks that Goya is entrusted by the Spanish príncipe Manuel de Godoy, and the woman in the picture is Godito’s mistress Pepita de Tudó.
在《裸体的马哈》之后，戈雅又绘制了《穿衣的马哈》。两幅作品都存于马德里普拉多博物馆，并排悬挂。至于观赏哪副画，则完全取决于观者。
After “La maja desnuda”, Goya painted “La maja vestida”. Both works are stored in the Prado Museum in Madrid, hanging side by side. Whether looking at which painting over the other depends entirely on us.
