Goya’s ambition

One afternoon in January, behind the windows of his country house on the outskirts of Madrid, goya Some images of his life come to him, powerful, indescribable, complex, some strangely pleasant. He watches with amazement what happens to him, the good and the bad. The struggle to master the elusive art of drawing, observing the directions of his teacher Velázquez with absolute fascination. It’s a complex endeavor for a rebellious personality, an artist fixated on her own visions, obsessed with her need to be appreciated first, perhaps alone. Did he succeed? His life passed before him like an accelerated sequence of events, between the hard work of painting and constant meetings with the most important personalities, politicians, as well as intellectuals, strong and beautiful women of Spain of his time.

Goya is an important character in the history of painting, who, of course, suffers from our lack of memory. It was ignored for a while, when the complexity of the truth was replaced by blind applause for the virtuosity of painters like Vicente López. This closed important doors for him that could have helped elevate his status in a very difficult context, but his faith and zeal led him to become a court painter. It wasn’t easy to compete with a painting he found absurdly realistic, whose only value was to convey an empty message of perfection. Nevertheless, court life led Goya to consolidate his contradictory talent both in life and in business. The ups and downs in the field of creation were subject to the demands of power. The embodiment of his own vision was implicitly manifested in the making of paintings representing a society distorted by the image that the power wanted to impose. But what could he do?

Velasquez Although not always understood, it was still a necessary reference. He argued sickly with her, his legacy was excellence, but also the freedom to explore, to doubt, to reflect, to affirm his own convictions. A discussion that distracts him from collective adherence to impossible, fanciful, traditional formulas. For years he drew all of Velazquez’s works on a copper plate, stalled and read them until they were exhausted. Did it help you? Yes, thanks to this exercise, he abandoned all the struggle for the technical and conceptual value of Sevillian and managed to seize a new space devoid of the indoor sequences, although he had to do a bit.

The political moment, the social turmoil, the clash of different understandings of freedom and culture also determined their choices. He was sure now, the important thing was to live on the street, to gather the events that took a society to arms against the government in images like a notary, of course, he was more cultured. He joined the people to protect the people from ignorance and capture their unequal struggle, the complex reality of his own people, where dying is only an act of courage and survival.

Goya isolates himself from the world, they say that because of his illness he no longer seeks contact, relationship. Like Beethoven, his deafness separates him from people, from the reality that surrounds him, and he increasingly closes himself between his fears and the demons that have so devastated him in his life. Like a neurotic, he experiences the nearness of death, watching the bells of the soldiers and the plebs, their pain, their misery, their stupidity. Barbarism makes him even more critical of French soldiers and others, victims of scandal and barbarism, which he no longer respects.

We’re all going to die, including Goya, but he feels different. The truth he has sought all his life overshadows him. Already tired of knowing what life is like, he has painted and drawn all his life. Now he just wants to leave a testimony of his vision as a painter created by his own rules. He’s going to go to hell and show us life as it is, absurd, illogical, stupid but true, more like a different reality. Pencil in hand, tombstone or brush, he describes everything he has seen and not seen, what has been told to him, as well as what we humans have imagined. Slavery and vulgarity, spiritual poverty and discouragement in remembering what happened.

Origin is found in the classical past, such as Velázquez in Greco-Latin mythology. It depicts a god Saturn acting like a father who doesn’t understand his son, who uprooted the pillars of the world for war, for lovelessness, for distance, for death. Then, over time, the characters of his contemporary stories emerge, are repeated, observed, frowned upon: the nun, the mad priest, the owls, the sane looking crazy, and the sane looking at themselves in the mirror. biggest lie publicly, from inexperienced doctors, doctors, or prostitutes, or deranged beings on flying donkeys…

At the end he predicted, after terrible moments in front of a countryman who was already fed up with all life and barely understood him, the friend decided to go to France by stagecoach, friend of what? Behind the Pyrenees, the border awaits you with the cold of winter. His patience is exhausted, his resignation is over. Elsewhere, where Goya searches with a convinced decision without knowing exactly where he is going, the most terrible loneliness awaits him. As for most of his life, escape into nothingness, searching for places that don’t exist or are just in his mind. But he decides that the reality that dominates his debates on war and death, and which is nothing other than what he studies as human and human, must march towards an unfortunate fate that is only reflected by the color of darkness. artist.

Goya sighs, yearning for another existence different from this Spain, very crazy and very sane at the same time. His compatriots are as he drew them, or perhaps worse. No one knows what kind of person these people they admire and love are, but they don’t quite understand. His last sources are the glorification of past loves, said to have lived with the Duchess of Alba, his hard-to-believe and perhaps his last great painting, Bordeaux’s last revolt against the Milkmaid. on the wall.

Goya knows how to remember how much has happened because he knows who he is and who he is. Despite his disagreements with power, he knows that history will not treat him badly. His speech will be misunderstood by some or many, but with time it will be understood. As the centuries passed, they remembered who that strange painter was, and some said that he did not know how to paint. So much so that two hundred years ago, few of his contemporaries, famous or ordinary, believed him.

But the paradoxes of life, today Goya for the universal art world, undoubtedly the most determined and important person responsible for art that has developed since the 19th century, then Picasso would come, modernity, but that is another history. .

Source: Informacion


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