فرانشيسكو غويا
(1767 – 1824)
ولد الرسام الإسباني فرانشيسكو غويا في قرية فوينديتودوس الواقعة في شمال
إسبانيا في الـ30 من آذار 1767. انتقلت عائلته إلى ساراكوزا حيث كان والده
يعمل كدهان. في سنِّ الرابعة عشر تتلمذ على يد الرسام الإسباني خوزي
لوزاري، ثم ذهب إلى إيطاليا ليدرس الفن وعاد بعدها إلى ساراكوزا، عام 1971،
حيث بدأ العمل في رسم فريسكات الكاتدرائية المحلية في المدينة ما بدأ
يكرِّس سمعته كرسَّام. في عام 1773 تزوج من جوزيفا بايو، إخت الرسام
فرانشيسكو بايو، ورزق عدة أولاد لم يعش منهم إلا واحد.
ما بين عامي 1775 و1792، اشتهر برسوماته الكاريكاتورية لمعمل السجاد الملكي
في مدريد حيث كرَّس طريقته في رسم مشاهد من الحياة اليومية التي ساعدته في
أن يصبح مراقبًا حادًا للطباع الإنسانية. تأثر بالفن الكلاسيكي وخاصة
بأسلوب وأعمال الفنان الإسباني الشهير فيلاسكويز.
بعد ذلك، أصبح الرسام الأشهر للأرستقراطية الإسبانية، وانتخب في العام 1780
عضوًا في الأكاديمية الملكية، قبل أن يسميه الملك رسامًا في العام 1786
ورسامًا للبلاط في العام 1789. وقد أدت إصابته بالكوليرا في العام 1792 إلى
عزلته، الأمر الذي انعكس مزيدًا من المرارة في لوحاته التي أصبحت أكثر
عمقًا في تصويرها النقدي للطبيعة الإنسانية. خلال تلك الفترة رسم كابريشوس
التي هي مجموعة من الرسومات النقدية الحادة.
ما بين عامي 1795 و1799 عُيِّن سكرتيرًا للأكاديمية الملكية، وفي عام 1799
عيِّن رسامًا أول في البلاط الملكي الإسباني.
لكن، مثله مثل الكثيرين من المفكرين والفنانين الأوروبيين العظام في زمانه،
ورغم كونه الرسام الأول للبلاط، تأثر كثيرًا بالثورة الفرنسية وبمبادئها
الإنسانية، ما جعله يرحب، أول الأمر، بغزو قوات نابوليون لبلاده في العام
1808، وليصبح رسامًا للبلاط الفرنسي حتى العام 1814. في تلك الفترة، وأمام
ما كان يشاهده من مآس، حدث عنده تحول كبير انعكس في العديد من أجمل لوحاته
التي صورت الحرب وفظائعها، وجعلته يتحول إلى معاد للاحتلال الفرنسي لبلاده.
وحين عادت الملكية من جديد إلى إسبانيا، بعيد خروج الفرنسيين، سامحه الملك
وأعاده من جديد رسامًا للبلاط. لكن، خلال تلك الفترة، اصطدم بمحاكم التفتيش
التي لاحقته بسبب لوحته الأشهر المايا العارية ما اضطره لإخفاءها
ورسمها من جديد بعد أن ألبسها.
خلال تلك الفترة الأخيرة من حياته في إسبانيا، تميَّز غويا بمواقفه
التحررية وبمعارضته للمفاهيم والأساليب الرجعية في الحكم في إسبانيا، مما
انعكس على رسوماته.
وأخيرًا، في العام 1824 غادر غويا إلى فرنسا حيث نفا نفسه، وحيث توفي في
بوردو في 16 نيسان من العام 1924.
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Francisco Goya
(1767 – 1824)
Goya (y
Lucientes), Francisco (José) de
(b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, Bordeaux,
Fr.), consummately Spanish artist whose multifarious paintings,
drawings, and engravings reflected contemporary historical upheavals and
influenced important 19th- and 20th-century painters. Like Velázquez,
Goya was a Spanish court painter whose best work was done apart from his
official duties. He is known for his scenes of violence, especially
those prompted by the French invasion of Spain. The series of etchings
Los desastres de la guerra ("The Disasters of War",
1810-14) records the horrors of the Napoleonic invasion. His
masterpieces in painting include The Naked Maja and
The Clothed Maja (c. 1800-05). He also painted charming portraits
such as Senora Sabasa Garcia.
For the bold
technique of his paintings, the haunting satire of his etchings and his
belief that the artist's vision is more important than tradition, Goya
is often called "the first of the moderns." His uncompromising portrayal
of his times marks the beginning of 19th-century realism.
Francisco Jose
de Goya y Lucientes was born on March 30, 1746, in Fuendetodos, a
village in northern Spain. The family later moved to Saragossa, where
Goya's father worked as a gilder. At about 14 young Goya was apprenticed
to Jose Luzan, a local painter. Later he went to Italy to continue his
study of art. On returning to Saragossa in 1771, he painted frescoes for
the local cathedral. These works, done in the decorative rococo
tradition, established Goya's artistic reputation. In 1773 he married
Josefa Bayeu, sister of Saragossa artist Francisco Bayeu. The couple had
many children, but only one--a son, Xavier--survived to adulthood.
From 1775 to
1792 Goya painted cartoons (designs) for the royal tapestry factory in
Madrid. This was the most important period in his artistic development.
As a tapestry designer, Goya did his first genre paintings, or scenes
from everyday life.
The experience
helped him become a keen observer of human behavior. He was also
influenced by neoclassicism, which was gaining favor over the rococo
style. Finally, his study of the works of Velázquez in the royal
collection resulted in a looser, more spontaneous painting technique.
At the same
time, Goya achieved his first popular success. He became established as
a portrait painter to the Spanish aristocracy. He was elected to the
Royal Academy of San Fernando in 1780, named painter to the king in
1786, and made a court painter in 1789.
A serious
illness in 1792 left Goya permanently deaf. Isolated from others by his
deafness, he became increasingly occupied with the fantasies and
inventions of his imagination and with critical and satirical
observations of mankind. He evolved a bold, free new style close to
caricature. In 1799 he published the Caprichos, a series of
etchings satirizing human folly and weakness. His portraits became
penetrating characterizations, revealing their subjects as Goya saw
them. In his religious frescoes he employed a broad, free style and an
earthy realism unprecedented in religious art.
Goya served as
director of painting at the Royal Academy from 1795 to 1797 and was
appointed first Spanish court painter in 1799. During the Napoleonic
invasion and the Spanish war of independence from 1808 to 1814, Goya
served as court painter to the French. He expressed his horror of armed
conflict in The Disasters of War, a series of starkly
realistic etchings on the atrocities of war. They were not published
until 1863, long after Goya's death.
Upon the
restoration of the Spanish monarchy, Goya was pardoned for serving the
French, but his work was not favored by the new king. He was called
before the Inquisition to explain his earlier portrait of The
Naked Maja, one of the few nudes in Spanish art at that time.
In 1816 he
published his etchings on bullfighting, called the Tauromaquia.
From 1819 to 1824 Goya lived in seclusion in a house outside Madrid.
Free from court restrictions, he adopted an increasingly personal style.
In the Black Paintings, executed on the walls of his house,
Goya gave expression to his darkest visions. A similar nightmarish
quality haunts the satirical Disparates, a series of
etchings also called Proverbios.
In 1824, after
the failure of an attempt to restore liberal government, Goya went into
voluntary exile in France. He settled in Bordeaux, continuing to work
until his death there on April 16, 1828. Today many of his best
paintings hang in Madrid's Prado art museum.
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