弗朗西斯科•戈雅神秘《黑画》系列解读

发布于 2026-10-23 · 时长 23:55

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时间	英文	中文
0:00	14 works make up a series called the Black Paintings by the Spanish artist Francisco	14部作品组成了西班牙艺术家弗朗西斯科的"黑色绘画"系列作品.
0:05	Goya.	高亚.
0:07	They were massive murals depicting horrific scenes of decay, destruction, and suffering.	这些是巨大的壁画, 描绘了腐朽、毁灭和痛苦的可怕场景。
0:13	They were painted directly on the walls of the artist's home.	他们直接被画在艺术家家的墙上.
0:16	Nobody was supposed to see the black paintings.	没有人应该看到黑画。
0:19	They were never intended for public view, they do not have titles, they were not commissioned	从来不是给公众看的,没有标题,也没有委托
0:24	by anyone.	由任何人所为。
0:25	Goya never spoke or wrote about them.	Goya从来没有谈到或写过他们。
0:27	He never told any of his friends or family members about the paintings and there are	他从来没有告诉过任何朋友或家庭成员关于画,有
0:31	virtually no records of their existence from Goya's life.	几乎没有记录他们的存在从戈雅的生活。

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序号	英文	中文
1	14 works make up a series called the Black Paintings by the Spanish artist Francisco	14部作品组成了西班牙艺术家弗朗西斯科的"黑色绘画"系列作品.
2	Goya.	高亚.
3	They were massive murals depicting horrific scenes of decay, destruction, and suffering.	这些是巨大的壁画, 描绘了腐朽、毁灭和痛苦的可怕场景。
4	They were painted directly on the walls of the artist's home.	他们直接被画在艺术家家的墙上.
5	Nobody was supposed to see the black paintings.	没有人应该看到黑画。
6	They were never intended for public view, they do not have titles, they were not commissioned	从来不是给公众看的,没有标题,也没有委托
7	by anyone.	由任何人所为。
8	Goya never spoke or wrote about them.	Goya从来没有谈到或写过他们。
9	He never told any of his friends or family members about the paintings and there are	他从来没有告诉过任何朋友或家庭成员关于画,有
10	virtually no records of their existence from Goya's life.	几乎没有记录他们的存在从戈雅的生活。
11	So why did the artist make them?	那为什么是艺术家做的?
12	How did Goya go from painting idyllic works like this to works like this?	歌雅怎么从绘画戏剧像这样的作品变成这样?
13	Why would any individual choose to adorn their walls with paintings of cannibalism, witchcraft,	为什么会有人选择用食人、巫术的画作装饰墙壁,
14	and sorrow?	和悲伤?
15	The trajectory of Goya's work follows a well-trodden narrative about an artist descending into	戈雅的作品的轨迹沿循着关于一位艺术家的
16	This is, but simply, a poor explanation for the Black Paintings.	简而言之,这是对黑漆术的一个不好的解释。
17	The descent into madness tale does not just do a disservice to Goya's paintings, but	陷入疯狂的故事不仅对戈雅的画作有害
18	to art and perhaps even to humanity itself.	艺术,甚至人类本身。
19	We will get to that conversation, but for now, let's start with Francisco Goya.	我们会谈到那个话题的但是现在先从弗朗西斯科·戈亚开始
20	Francisco Goya was born in 1746 in Fuente Todos, Spain.	弗朗西斯科·戈亚1746年出生于西班牙富恩特托多斯.
21	Although born into limited means, Goya found immense fame as a painter throughout his life.	虽然出身于有限的手段,但戈雅在一生中作为画家发现了巨大的名声.
22	He was often commissioned by royals for portraiture, and as an artist, Goya was the subject of	他经常被皇家人委托做肖像画,作为一名艺术家,戈雅是
23	near-universal acclaim.	近乎普遍赞叹。
24	This video is about Goya's Black Paintings, but to understand these works, we must understand	这段视频是关于Goya的"黑色绘画",但为了理解这些作品,我们必须理解
25	how Goya arrived at them.	戈雅是怎样到达他们的
26	They were not created in a vacuum, but instead as a reaction to a myriad of circumstances.	它们不是在真空中产生的,而是作为对众多情况的反应。
27	As wonderfully as things were going within Goya's career, the same could not be said	和戈雅的事业里发生的事情一样奇妙也一样
28	for his country.	他的国家。
29	In 1789, the French Revolution was sending shockwaves into Spain.	1789年,法国大革命将冲击波传入西班牙.
30	The Spanish government attempted to stamp out these revolutionary ideas, and the Spanish	西班牙政府试图消灭这些革命思想和西班牙人
31	sympathizers were forced into hiding.	同情者被迫躲藏。
32	Goya himself sided with the left-leaning revolutionaries, but his life materially depended on commissions	高雅本人支持左倾的革命者,但他的生命在物质上依赖于佣金
33	from the Spanish crown.	从西班牙王冠。
34	This crisis of conscience did not create the Black Paintings, but it is perhaps the very	这场良心危机并没有造成黑色画派,但也许是
35	first straw on the camel's back.	骆驼背上的第一吸管
36	In 1793, a mysterious disease left Goya completely deaf.	1793年,一场神秘的疾病使戈雅完全失聪.
37	Shortly after losing his hearing, Goya underwent an intense depressive episode.	失去听力后不久,戈雅经历了强烈的抑郁症.
38	His work became darker and more pessimistic, focusing on human suffering and the cruelties	他的作品变得更加黑暗和悲观,专注于人类的痛苦和残酷
39	of the world.	这个世界。
40	这在他的1794年的画中被完美地俘获,Yard with Lunatics.
41	In the work, Goya depicts patience in a mental institution.	在作品中,戈雅描绘了精神病院中的耐心.
42	Strikingly, the building seems to be outside.	令人惊叹的是,这栋建筑似乎在外面。
43	The sun is shining brightly in the entire upper portion of the canvas, and yet the figures	整个帆布的上部阳光闪耀着阳光然而数字
44	are all bathed only in darkness.	只有在黑暗中沐浴
45	Externally, the situation in Spain was worsening as well.	在外部,西班牙的局势也在恶化。
46	Ferdinand VII took power, and under his reign, Spain entered into a civil war.	斐迪南七世掌权,在他的统治下,西班牙陷入内战.
47	Goya attempted to leave the capital city of Madrid on two occasions, but was both times	戈雅曾两次试图离开首都马德里,但都是两次
48	threatened with the seizure of his property and the loss of his job.	威胁要没收他的财产和失去工作。
49	So he stayed in the capital, where he held a unique and bizarre relationship to the conflict.	于是他留在了首都,在那里他与冲突保持着独特和奇异的关系.
50	On one hand, he was painting for the new invading king.	一方面,他为新入侵的国王画画.
51	On the other, Spanish generals invited Goya to document the struggles of their soldiers.	另一方面,西班牙将领们邀请戈雅来记录他们的士兵们的斗争.
52	All the while, Goya witnessed first-hand the terror of the civil war.	一直以来,戈雅亲眼目睹了内战的恐怖.
53	During this time, he produced a series called the Disasters of War, which are a direct precursor	在此期间,他制作了一个名为"战争灾难"的系列,这是直接的前奏.
54	to the black paintings.	黑漆黑的画。
55	It's hard to say exactly when Goya began Disasters of War, but the earliest entry is	很难确切地说戈雅何时开始战争的灾难但最早的条目是
56	dated to 1810.	日期为1810年.
57	The works are most obviously about the War of Independence, but they are also about war	作品中最明显的是关于独立战争的,但也是关于战争的
58	in its totality.	整个过程
59	Goya's Disasters omit references to real people, places, or events, much like his later	Goya的灾难忽略了真实的人,地点, 或事件, 和后来的他一样
60	black paintings.	黑色画作.
61	Instead, they portray the everyday sufferings of a population ripped apart by violence.	相反,它们描绘了被暴力撕裂的民众的日常苦难。
62	In the series, Goya is not interested in arguments over a just or unjust war.	在系列中,戈雅对一场正义或不公正的战争的争论不感兴趣.
63	Rather, he seems to portray war as fundamentally wrong.	相反,他似乎把战争描绘成根本错误。
64	The war is not an error on the part of the Spanish or the invading forces, but error	战争不是西班牙人或入侵部队的错误而是错误
65	on the part of humanity itself.	人类本身。
66	This philosophy, this pessimistic view of humankind, is the thread which carries Goya	这种哲学,这种悲观的人类观点,是带着戈雅的线条.
67	through to his black paintings.	穿过他的黑画。
68	The horrors of war, the human suffering in his etchings, were not temporary, but rather	战争的恐怖人类的痛苦在他的蚀刻,不是暂时的,而是
69	quite permanent.	相当永久。
70	They became a hinge around which his creative process seemed to turn.	他们成了他的创造过程似乎正在转向的锁链。
71	With the political situation becoming more oppressive and his health continuing to decline,	随着政局更加压迫,他的健康继续下降,
72	Goya purchased a house in the countryside.	戈雅在农村购买了房屋.
73	By this time, Goya's creative voice had entirely entered a world of darkness.	此时,戈雅的创作声音已完全进入黑暗世界.
74	This would soon culminate in the black paintings.	这很快会以黑色的画作为高潮.
75	In 1819, Goya fell seriously ill once again.	1819年,戈雅再次病重.
76	He recovered, but would live the rest of his days in severe mental anguish over a relapse	他康复了,但终日会因复发而精神痛苦
77	and the looming threat of death.	和濒临死亡的威胁。
78	It is likely that after his recovery, Goya began work on the black paintings.	很可能在他康复后,戈雅开始创作黑色画作.
79	These paintings were applied directly to the walls of his home.	这些画被直接应用到他家的墙上.
80	Modern x-rays have shown that beneath the black paintings, there were pleasant murals	现代的X光显示在黑漆底有令人愉快的壁画
81	of nature and country life.	自然和国家生活。
82	It's unclear if Goya painted these murals, but no matter the case, the black paintings	不清楚戈雅是否画了这些壁画但不管怎样黑画
83	represent a deliberate desire to cross out the idyllic with the macabre.	代表着一种刻意的渴望与阴道交叉
84	These fourteen paintings do not depict flesh and blood events.	这十四幅画没有描绘血肉事件.
85	They are not images of things occurring in the world as far as we know.	据我们所知,它们并不是世界上发生的事物的影像。
86	Instead, they are a reflection of mood, of Goya's own internal state of being.	相反,它们是情绪的反映, 戈雅自身的内部状态。
87	Amid the wars, political turmoil, and failing health, the black paintings offer a private	在战争、政治动荡和身体衰弱的情况下黑画提供了私人
88	glimpse inside the mind of Francisco Goya.	在弗朗西斯科·戈亚的脑海中
89	Saturn Devouring His Son is likely the most famous of the black paintings, and subject	土星毁灭他的儿子很可能是最著名的黑色画,和主题
90	it depicts the myth of Cronos, who was later renamed to Saturn by the Romans.	它描绘了后来被罗马人改名为土星的克罗诺斯神话.
91	In that story, Cronos believes one of his sons will usurp his throne and so Cronos devours	在那个故事里,克罗诺斯相信他的一个儿子会篡夺他的王位所以克罗诺斯吞噬
92	the infant at birth.	婴儿出生时。
93	The narrative is obviously interesting, but it is Goya's depiction which demands attention.	叙述显然很有趣,但需要注意的是戈雅的描写。
94	Earlier, more traditional depictions of this scene, like this one from Peter Paul Rubens,	早些时候,更传统的描绘这个场景, 像这个从彼得保罗鲁本斯,
95	show Saturn as cruel and malevolent.	显示土星是残忍和恶毒的。
96	For a more direct comparison, we can look to an earlier work by Goya himself.	为了进行更直接的比较,我们可以看看戈雅本人先前的作品.
97	Years before creating the black paintings, Goya produced a chalk drawing of Saturn Devouring	在创作黑色绘画之前的几年,戈雅制作了土星的粉笔绘画
98	His Son.	其子..
99	In the drawing, Saturn looks every bit as violent as Rubens and he is depicted with	在绘画中,土星看起来每一点都像鲁本斯一样暴力,他被描绘成
100	two bodies as if his ruthlessness has a procedural quality to it.	两具尸体仿佛他的残忍具有程序上的质量
101	But in Goya's later painting, it is hard to see any bit of cruelty on Saturn's face.	但是,在戈雅后来的画中,很难看到土星脸上有任何一点残酷.
102	Instead, he looks afraid.	相反,他看起来很害怕。
103	Saturn stares at the viewer as if being caught in an act most deplorable.	土星盯着观众看好像被一个最可悲的行为抓住了
104	We are afraid of the monster and the monster is afraid of us.	我们害怕怪物怪物害怕我们
105	The damage is already done, the figure he holds is bloodied and headless.	伤害已经做了, 他持有的身材是血和无头。
106	Saturn, who we would see as the monster, is horrified by himself.	土星,我们所看到的怪物, 被自己吓坏了。
107	The bright lighting puts Saturn in a spotlight against the black background.	明亮的灯光使土星在黑色背景下进入聚光灯.
108	It feels as if we have interrupted something.	感觉好像我们打断了什么
109	But when we examine the tale of Saturn against Goya's work, we find huge inconsistencies.	但是,当我们研究土星与戈雅的作品作对的故事时,我们发现巨大的不一致之处.
110	In the story, Saturn is devouring a newborn child.	在故事中,土星正在吞噬一个新生的孩子.
111	The body being eaten in Goya's painting, though, is quite clearly an adult.	不过,戈雅画中被吃掉的尸体显然是成年人.
112	The shape of the body could even suggest that it is a woman as well, rather than a son.	身体的形状甚至可以表明,它也是一个妇女,而不是一个儿子。
113	The Titan Cronos is also representative of time.	泰坦克罗诺斯号也是时间的代表.
114	Perhaps Goya's Saturn is time, the passing of time, and all of mankind's machinations	也许戈雅的土星是时间时间的流逝和人类的阴谋
115	devouring humanity itself.	吞噬人类本身
116	But the painting lacks the typical iconography that would be associated with Saturn.	但是这幅画缺乏典型的与土星相关的偶像画.
117	Constellations, hourglasses, and scythes are conspicuously absent.	星座、时镜和圆柱明显缺失。
118	Artists are inclined to take creative liberties, certainly.	当然,艺术家倾向于接受创作自由。
119	But one possible explanation for these inconsistencies is also that the painting does not depict	但是这些不一致的一个可能的解释是,画没有描绘
120	Saturn.	土卫六.
121	Goya did not title the painting.	Goya没有为这幅画题名。
122	Historians today have given it that title and anointed it that subject matter, but this	历史学家今天给了它这个头衔并给它涂了这个主题,但这个
123	is just a theory.	只是一个理论。
124	It's quite possible that Goya did not paint Saturn.	很可能戈雅没有画土星
125	So what did he paint?	他画了什么?
126	Goya and his wife had between five and twenty children.	戈雅与妻子育有5到20个孩子.
127	No one really knows the exact number, but only one survived beyond childhood, their	没有人真正知道确切的数字, 但只有一个幸存下来过童年,他们的
128	son Javier.	儿子哈维尔。
129	From Javier's earliest days, Goya doted over the boy.	从哈维尔最早的年代开始,戈雅就对男孩做了点心.
130	Goya wrote poetic letters to his friends about his son.	戈雅为朋友写了有关儿子的诗信.
131	When his wife died, Goya gave virtually all of his belongings and paintings to Javier.	他的妻子去世后,戈雅将他几乎所有的财物和画作都交给了哈维尔.
132	After Javier married into a wealthy family, Goya still took financial responsibility for	Javier嫁给一个富裕的家庭后 Goya仍然承担着经济责任
133	the child.	孩子们
134	Nearing the end of his life, Goya was spending all of his money on his son.	临终之际,戈雅将全部钱花在儿子身上.
135	The father had grand hopes that Javier would devote himself to art, but that did not happen.	父亲对哈维尔投入艺术事业抱有巨大的希望,但这并没有实现.
136	When we look at a portrait of the twenty-one-year-old Javier done by Goya, we perhaps see how Goya	当我们看着戈雅的21岁Javier的肖像时, 我们也许可以看到戈雅是如何的
137	viewed his child.	看着他的孩子
138	The boy is handsome, but he is childlike, pretty, and his expression is even aloof.	男孩是帅气的, 但他是孩子般的,漂亮, 他的表情甚至被遗忘。
139	The painting does not render Javier as strong or determined, but instead as a well-to-do,	这幅画并没有让哈维尔变得坚强或坚定,而是作为一个好人,
140	unconcerned youth.	不关心的青年。
141	Perhaps Saturn is a reflection of Goya's own strained, disappointing relationship with	也许土星是戈雅自己紧张,令人失望的关系
142	his son, or an allegory for the children Goya lost, but I think to prescribe such specific	他的儿子, 或一个寓意的孩子 Goya失去了, 但我想规定这样的具体
143	meaning to works of art is often a misled endeavor, and as we continue to look at the	艺术作品的意义往往被误导,而当我们继续审视
144	black paintings, this does become a good thesis on the works.	黑色画作,这确实成为了作品上的好论文.
145	Witch's Sabbath is another iconic painting from the period, and the work, A Goat, likely	女巫的安息日是这段时期的又一幅标志性的画, 作品,一只山羊,很可能
146	Satan, presides over a coven of witches who look horrified and distraught at the scene.	撒旦,主持一个巫师的集合,他们看起来惊恐不安,在现场惊慌失措.
147	The shortest of the witches sitting next to Satan has been suggested to be a child or	坐在撒旦旁边的女巫中最短的被暗示是一个孩子或
148	an infant being prepared for some kind of ritual.	一个婴儿正在准备某种仪式
149	The witches are painted in unflattering forms, they are grotesque and twisted in their renderings.	巫师们被描绘成不折不扣的形式,他们怪异,在渲染中扭曲.
150	Still though, the painting offers very little in the way of outright condemnation of witchcraft	不过,这幅画对彻底谴责巫术的作用却很小
151	specifically.	特别的。
152	Instead, it just shows some ritual, as Goya would have imagined it.	相反,它只是展示了一些仪式,正如戈雅会想象的那样.
153	The setting is vague at very best, it seems clear that the events are occurring outside,	环境充其量是模糊的, 似乎很清楚的事件发生在外面,
154	but the viewer knows little more than that.	但观众只知道这些
155	This was not the first time Goya painted witchcraft.	这不是戈雅第一次画巫术。
156	His arguably more famous work from several years prior shows a similar scene.	他几年前的著名作品也显示出类似的场景
157	He depicted witches in a few other works.	他在其他一些作品中描绘了女巫.
158	Goya was a staunch liberal, and he fiercely opposed the work of the Spanish Inquisition.	戈雅是一个坚定的自由主义者,他强烈反对西班牙宗教裁判所的工作.
159	His paintings of witches are generally accepted as silent protests to the Inquisition.	他的巫术画被普遍接受为对宗教裁判所的无声抗议.
160	This one is no exception.	这个也不例外。
161	In another famous piece from the black paintings, Goya's subject matter shifts from the cosmic	在黑色画作的另一部著名作品中,戈雅的主题从宇宙中转移.
162	and mythical to the mundane and even crass.	和神话对普通甚至疯狂。
163	Two women and a man seems to depict a man masturbating to the mockery or humor of two	两个女人和一个男人似乎描绘一个男人自慰嘲笑或幽默的两个人
164	peasant women.	农村妇女。
165	Just like in Saturn and Sabbath, the painting is set against an ambiguous black background.	和土星和安息日一样画作的背景模糊不清
166	The scene could be playing out anywhere at all.	这个场景可能在任何地方游玩
167	Goya has disfigured all of the faces.	戈雅把所有的脸都毁容了
168	Whether they are jovial, embarrassed, or something else entirely, they have become	不管他们是快乐的,尴尬的,还是其他的, 他们变成了
169	grotesque and horrific depictions of human emotion.	人类情感的怪异恐怖描绘
170	There is also two friars, which seems to depict a monk alongside some vaguely bestial figure.	也有两只怪兽,它们似乎描绘了一位僧侣与一些模糊的骨骼人物。
171	While the bearded figure looks contemplative and receptive in the painting as it exists	虽然胡须的身材看起来很古板并且能接受现存的画作
172	today, this is a result of changes during the restoration process.	今天,这是在恢复过程中变化的结果。
173	In early photos of the paintings on Goya's walls, the bearded man seems dark, brooding,	在戈雅墙上的画作的早期照片中, 胡子男看起来很黑,很结实,
174	and even standoffish.	甚至是僵持。
175	The whispering figure has been better preserved.	耳语人物保存得更好.
176	He barely looks human.	他几乎不像人类
177	Some historians have suggested him as a metaphor for time or death itself.	一些历史学家建议他作为时间或死亡本身的比喻.
178	One of the most mysterious paintings of the series is Two Old People Eating.	该系列最神秘的绘画之一是"两老吃".
179	Historians do not know where this was painted in the home, nor do they entirely understand	历史学家不知道这幅画是在哪里画的他们也不完全明白
180	what is going on in the painting.	画里发生了什么
181	The work shows two figures, one holding a spoon who seems to be a woman.	作品显示两个数字,一个拿着一个似乎是一个女人的勺子.
182	She is grinning widely, though her smile does not look particularly amicable.	虽然她的微笑看起来并不特别友好,
183	The other figure looks on if he is even alive at all.	另一个人看他是否还活着
184	Here we have what would be a charming domestic scene, two elderly people having dinner morphed	在这里,我们有一个迷人的家庭场景, 两个老人吃晚饭
185	into the grotesque.	进入迷幻的境界。
186	What is this lady pointing at?	这位女士指什么?
187	Why is she smiling if she is accompanied by a dead body or a dying man?	为什么她要笑,如果她被一个死尸或一个垂死的男人陪伴的话?
188	This work reflects Goya's tendency with the black paintings.	本作反映了戈雅与黑画的倾向.
189	Where many artists look for the beautiful in the commonplace, Goya seemed obsessed with	在很多艺术家寻找美丽在常见, 戈雅似乎痴迷
190	finding darkness in everyday minutia.	发现黑暗的日常小屋。
191	The Pilgrimage to San Ysidro is particularly compelling.	朝圣至圣伊西德罗特别有说服力.
192	It shows a scene that Goya had already painted once in his life, but his previous depiction	显示戈雅一生中已经画过一次的场景但他之前的描绘
193	of San Ysidro offered bright colors, beautiful fashions, and a sense of serenity.	圣伊西德罗提供了明亮的颜色美丽的时尚和宁静的感觉
194	There is anything but serenity in this one, however.	然而,除了平静之外,还有任何其他事情。
195	Historians believe the painting depicts a festival called Saturnalia.	历史学家认为这幅画描绘了一个名为"土星利亚"的节日.
196	This festival, though, is a merry, bright occasion.	这个节日,虽然,是一个快乐,光明的时刻。
197	Goya has instead given it a characteristic, unrelenting bleakness.	戈雅反而赋予它一个特征,无情的凄凉.
198	The figures in this painting do not show celebration, but instead immense despair and distress.	这幅画中的数字并不表示庆祝,而是表现出巨大的绝望和痛苦。
199	With an atropos, Goya returns to the heavenly.	以阿tro多罗三藐三菩提回向天.
200	This painting depicts the three fates, Clotho, Lachesis, and Atropos.	这幅画描绘了克洛索,拉切西斯,阿特罗波斯这三种命运.
201	These divine figures are daughters of the night, said to grant man access to good and	这些神圣的人物是夜之女,据说是让人类获得善良,
202	evil.	邪恶
203	But Goya has not painted them with the reverence traditionally given towards the gods.	但戈雅并没有用传统上对神的尊敬来描绘他们.
204	They are gnarled and disfigured as they carry away a fourth body through the sky.	它们被咬伤和毁容因为它们从天空中带走了第四具尸体
205	Certainly, the most heartbreaking of the black paintings is The Drowning Dog, again only	当然,最令人心碎的黑色绘画是溺水狗,再次只有
206	titled so much after Goya's death.	戈雅死后被冠名如此之多
207	In fact, this particular painting has been assigned a number of titles.	事实上,这幅特别的画被赋予了一些标题.
208	These include The Dog, Head of a Dog, The Buried Dog, The Half-Drowned Dog, and The	其中包括"狗","狗的头","埋藏的狗","半醉的狗"和"狗".
209	Half-Submerged Dog.	半淹狗(原变种).
210	I personally find this painting to be immensely distressing.	我个人觉得这幅画令人非常痛苦。
211	The more we stare at the scene, the harder it becomes to look.	我们越是盯着现场看就越难看
212	Many art historians have taken the work as depicting a losing battle, the dog against	许多艺术史学家认为这部作品描绘了一场输掉的战役,狗反对
213	this sloped, large, dark mass.	这个斜坡,大,暗的质量。
214	The dog is perhaps human, futile, posed against humanity, the individual defeated by the world.	狗或许是人,是徒劳的,是对人类,即被世界打败的个人提出的。
215	I think of this painting as a thesis statement for the black paintings.	我认为这幅画是黑画的论文
216	Goya is the dog, isolated and nearing the end of his life and defeated by forces far,	戈雅是狗, 孤立和接近他的末日并被部队击败,
217	far outside of his control.	远远超出他的控制。
218	Death was coming.	死亡即将来临。
219	Goya knew this, and there was nothing he could do to stop it.	高雅知道这一点,没有他能阻止的.
220	The forces of the world, the slopes, were unrelentingly pushing into him.	世界的力量,斜坡, 无情地推进他。
221	He was drowning.	他淹死了。
222	Although it is tempting to force blunt interpretations onto these or any paintings, the works are	虽然强迫这些或任何绘画作上粗略的解释是诱人的,但作品是
223	mysterious and vague.	神秘而模糊
224	The black paintings may not be one-to-one depictions of scenes, scenarios, or stories.	黑画可能不是一对一描绘场景,情景,或故事.
225	They are instead reflective of Goya's spirit.	相反,它们反映了戈雅的精神。
226	Likewise, examining these paintings is more an act of the soul than one of the mind.	同样,审视这些画作,与其说是一种心灵的行为,不如说是一种心灵的行为.
227	So perhaps we should turn to Goya's soul for our closest approximation at understanding	所以也许我们该找Goya的灵魂来做我们最接近的理解
228	his work.	他的功劳。
229	The most blunt and shallow assessment of Goya weaves tales of a descent into madness.	对Goya编织的疯狂故事最直率和浅浅浅的评价
230	But look at what this artist has given humanity.	看看这位艺术家给人类带来了什么。
231	Certainly Goya deserves a more nuanced conversation.	当然,戈雅值得更细致的交谈。
232	Certainly he deserves some empathy.	当然他值得同情
233	For this conversation, we can look to factors both external and internal.	对于这次对话,我们可以研究内外因素。
234	Ferdinand VII, the ruling monarch in Spain, would be a good place to start.	斐迪南七世是西班牙的统治君主,这将是一个良好的开端.
235	Often called Spain's worst king, Ferdinand was a short-sighted tyrant who lacked courage,	费迪南德经常被称为西班牙最差的国王, 是个短视的暴君,缺乏勇气,
236	constitution, and competence.	宪法和权限。
237	His reign was marked by oppression, specifically the oppression of ideas which Goya himself	他统治的标志是压迫,特别是压迫戈雅本人的思想
238	held dear to his heart.	紧紧地抱着他的心
239	Ferdinand had no interest in the well-being of his people, his court was rife with corruption,	斐迪南对人民的福祉毫无兴趣他的宫廷充满腐败
240	and the king dreadfully mismanaged Spain's overseas colonies.	国王对西班牙的海外殖民地管理不当
241	As we already mentioned, Ferdinand ultimately plunged Spain into civil war.	正如我们已经提到的那样,斐迪南最终使西班牙陷入内战.
242	Even if Goya could have shut out political turmoil from his mind, he would not have found	即使戈雅能把政治动荡从他的思想中排除出来他也不会发现
243	a safe place to retreat.	一个安全的地方撤退。
244	Goya was never in great health, mentally or physically.	Goya在精神上或身体上都从未处于良好状态。
245	Most specifically, we can point to four distinct episodes of illness in 1777, 1787, 1819, and	最具体地说,我们可以指出1777年,1787年,1819年的四起不同的疾病事件,
246	1828.	1828 (英语).
247	All of these incidents have been the subject of a wide range of speculation without any	所有这些事件都曾受到广泛的猜测,没有受到任何怀疑。
248	definite conclusions.	肯定的结论。
249	Goya's symptoms throughout his life were remarkably disparate.	戈雅一生的症状非常不同
250	The artist was plagued with temporary paralysis, partial blindness, depression, nausea, dizziness,	艺术家暂时瘫痪部分失明抑郁恶心眩晕
251	pain, and a general sense of sorrow.	痛苦,和一般的悲伤感。
252	Amid the varying diagnoses historians have offered for Goya, Laura L. Casey points to	在历史学家为戈雅提出的不同诊断中,劳拉·L·凯西指出:
253	Occam's razor in her paper, Goya in Sickness and in Health.	奥卡姆的剃须刀在她的论文,Goya 在疾病和健康。
254	She argues that we should accept the most obvious and most simple explanation.	她认为,我们应该接受最明显和最简单的解释。
255	All of these symptoms, with the sole exception of his deafness, are characteristic of somatic	所有这些症状,除了他的耳聋之外,都是身体的特征
256	depression.	抑郁症。
257	That is, depression which affects the body instead of only the mind.	也就是说,抑郁症会影响身体,而不只是心灵。
258	In one famous etching, entitled The Sleep of Reason Produces Monsters, we can find some	在一个著名的刻画中, 题为“理性的沉睡”的怪物, 我们可以找到一些
259	evidence for Casey's conclusion.	凯西的结论的证据
260	The work shows a figure, often believed to be Goya himself, plagued by beasts and demons	这部作品展示了一个人物,经常被认为是戈雅本人,被野兽和恶魔所困扰.
261	as he leans onto a table, his hands attempting to shield himself from these torments.	当他靠在桌子上时他的双手试图保护自己免受这些折磨
262	The work is likely an allegory for Spanish society at the time, but Goya's life also	这部作品对当时的西班牙社会来说可能是一个寓意,但戈雅的一生也一样.
263	provides a number of incidents that could certainly catapult the individual towards	造成一些事件,肯定会将个人推向
264	severe depression.	严重的抑郁症。
265	In 1773 Goya married Maria Josefa, who was well connected to the royal family.	1773年,戈雅嫁给了与王室关系良好的玛丽亚·何塞法.
266	Goya knew that he had political views the royals would see as troublesome, but he also	高雅知道,他有政治观点皇室会认为麻烦, 但他也
267	had no interest in abdicating his opinions.	无意放弃他的意见。
268	So today, historians believe his marriage carried ulterior motives.	所以今天,历史学家相信他的婚姻带有别有用心的动机.
269	By having the support of a well-to-do family, Goya could paint and express his feelings	戈雅可以画画表达他的感受
270	without the immediate danger of retribution.	没有立即报复的危险。
271	Of course, such a marriage would create tension.	当然,这种婚姻会造成紧张。
272	Indeed, Goya and his wife had a lifelong relationship which was decidedly unhappy.	事实上,Goya和他的妻子有一段终生的感情,这很不幸福。
273	To compound this issue, Goya and his wife buried all but one of their children.	使这个问题复杂化的是,戈雅和他的妻子除了一个孩子外,都埋葬了他们的孩子.
274	If the low estimates are true, Goya would have seen four of his children die.	如果低估计是真实的,戈雅会看见他的四个孩子死去.
275	On the high end, as many as 19.	在高端,多达19个。
276	While Goya eventually arrived at a place of critical acclaim, this was not always the	虽然Goya最终到达了一个备受赞誉的地方,但这并不总是
277	case.	案例。
278	His early entries into the Spanish art world were met with rejection after rejection.	他早期进入西班牙艺术界,在被拒绝后遭到拒绝.
279	The eventual arrival of Ferdinand VII would have also pushed the liberal Goya into disfavor,	最终斐迪南七世的到来也会让自由派的戈雅感到不满
280	even if the king did not outwardly force any consequences on the artist.	即使国王没有对艺术家施加任何后果
281	All of these things were happening against a backdrop of devastating civil war.	所有这些事情都是在毁灭性内战的背景下发生的。
282	Civil war which was plaguing Goya's backyard, his day-to-day life.	内战困扰着戈雅的后院他的日常生活
283	These troubles would be enough to affect any given individual, surely, but as Casey points	当然,这些麻烦足以影响任何个人但正如凯西指出的
284	out in her paper, an artist like Goya would have been uniquely sensitive to this turmoil.	在她的报纸上,像Goya这样的艺术家对这场动乱会特别敏感
285	It is a safe generalization to say that artists are more susceptible to mood disorders than	说艺术家更容易患上情绪紊乱,这很安全
286	other members of the population.	居民中的其他成员。
287	Certainly the degree to which this is true ranges widely on a case-by-case basis.	当然,在个案基础上,这种真实程度的范围很广。
288	Artists are not always troubled and troubled people are not always artists, but as it so	艺术家不是总有麻烦麻烦的人不是总有艺术家,而是如此
289	often happens, trouble and talent worked in tandem for Francisco Goya.	经常发生,麻烦和才华为弗朗西斯科·戈亚协同工作.
290	Goya displayed an inherent and lifelong propensity towards heightened sensitivity.	戈亚表现出一种固有的、终生的倾向,即提高敏感性。
291	This enriched Goya's abilities as an artist, surely.	这当然丰富了戈雅作为艺术家的能力.
292	Gifted with a greater awareness of his general environment and his own mind, Goya was inherently	戈雅对自身环境及思想有了更深的认识
293	better equipped to portray these landscapes, both mental and physical.	更能描绘这些景观无论是精神还是身体
294	He could see colors of humanity that many of us cannot, but this talent was not always	他可以看到人类的颜色我们很多人都看不见但这种才华并不总是
295	to his well-being.	为了他的福祉
296	When Goya saw pain, he felt it magnified.	当戈雅看到痛苦时,他感觉它放大了.
297	When he experienced pain, it fractured him.	当他经历疼痛时,它使他骨折.
298	Goya's contemporaries recall that the artist regularly experienced bouts of violent outrage	Goya的同龄人回忆说,这位艺术家经常经历暴力暴行。
299	after seeing injustices, suffering, and cruelties.	在看到不公正、痛苦和残忍之后
300	After his 1819 illness, Goya produced a painting called Self-Portrait with Dr. Arrieta.	1819年病逝后,戈雅与阿里埃塔博士一起制作了一幅名为"自画像"的画.
301	This work shows his doctor holding Goya and offering him a tonic.	这部作品显示他的医生持有戈雅,并给他提供通心粉.
302	The doctor here feels more like a priest offering Goya his last rites.	这里的医生觉得更像是祭司祭祀戈雅的最后仪式.
303	While the painting was produced in a sort of thankful gesture, Goya long held disdain	虽然这幅画是用一种感恩的姿态制作的,但戈雅长期以来一直持蔑视态度.
304	for medical professionals within Spain, and this was well justified.	对西班牙的医疗专业人员来说,这是有道理的。
305	During Goya's life there was a tradition of calling physicians matesanos, which translates	在戈雅的一生中有一种叫医生的传统也就是翻译
306	{\fn黑体\fs22\bord1\shad0\3aHBE\4aH00\fscx67\fscy66\2cHFFFFFF\3cH808080}对健康的杀手来说 {\fn黑体\fs22\bord1\shad0\3aHBE\4aH00\fscx67\fscy66\2cHFFFFFF\3cH808080}是的
307	Surgery in Spain took a form that basically resembled bloodletting.	西班牙的外科手术形式基本上类似于流血
308	The Spanish Inquisition was also happening during Goya's life.	西班牙宗教裁判所也发生在戈雅生前.
309	Within this context, physical maladies were caused not by physical conditions, but instead	在这种情况下,身体疾病不是由身体条件造成的,而是由身体条件造成的。
310	by spiritual, faith-based issues.	由精神,信仰的问题。
311	Any physician who divorced the physical from the metaphysical would have been essentially	任何医生如果将身体与身体分离基本上就是
312	laughed out of their position.	笑出他们的位置。
313	And so towards the end of his days, Goya's life was in the hands of a system which he	戈雅的性命就掌握在他手中了
314	hated and which he rightfully saw as corrupt and misled.	憎恶,而且公道地认为是堕落和迷误的。
315	Consider this alongside a life which was marked by physical health crises.	把这和身体健康危机一样
316	With unending threats to his life and a medical system which seemed entirely incompetent,	他的生命受到无休止的威胁医疗系统似乎完全无能
317	Goya's later years were marked by the looming threat of death.	戈雅晚年的标志是濒临死亡的威胁.
318	He seemed certain that he would die if not Tuesday, then Wednesday, if not Wednesday,	他似乎确信如果不是周二,如果不是周三,他会死
319	then Thursday, that he had outlived his own life and that death would soon come to collect.	然后周四他活过了自己的生命死亡很快就会降临
320	When we consider these things, it is not just Goya's art that we unlock, but art itself	当我们考虑这些事情时,不仅仅是戈雅的艺术我们解锁,而是艺术本身
321	and even humanity.	甚至是人类
322	At its very best, art is a direct communication from the soul.	艺术是灵魂的直接交流
323	It defies clumsy explanations.	这违反了笨拙的解释。
324	Goya's black paintings are perhaps the pinnacle of this.	戈雅的黑色绘画或许是这个的顶峰.
325	We have no insight from the artist on the paintings.	我们没有艺术家对画作的看法。
326	They do not depict events which we can look to.	它们没有描绘我们可以期待的事件。
327	The material substance of the work is equally elusive.	工作的实质同样难以捉摸。
328	They are in horrible condition and have been editorialized almost shamelessly in places.	他们处于可怕的状态,几乎无耻地被编辑。
329	The black paintings defy mechanical explanation.	黑色的绘画无视机械解释.
330	They always will.	他们总是会的。
331	With this in mind, it is very tempting to say that Goya just went mad in his countryside	考虑到这一点,很诱人地说,戈雅刚在乡下发疯
332	estate.	资产。
333	But this is incorrect.	但这是不正确的。
334	It is dismissive and for that, it is a cruel thing to say.	这是一种冷酷无情的说法。
335	When I was a child, I used to watch my grandfather build model airplanes.	我小时候经常看爷爷造模型飞机
336	These planes were the result of great care and labor and consideration and he used fine	飞机是精心照顾、努力和体会的结果他用得很好
337	instruments and delicate tools to put them together.	将这些文书和微妙的工具汇集在一起。
338	Often when we classify people as crazy, we are just throwing parts into a pile and saying	通常当我们把人归类为疯子时,我们只是把部分扔进一堆东西里说
339	we've built an airplane.	我们造了一架飞机
340	We fail to realize that individual pieces have significance.	我们未能意识到,个别作品具有意义。
341	This plank is a wing, this glass is a cockpit, this plastic is the propeller.	这个木板是翼,这个玻璃是驾驶舱,这个塑料是螺旋桨.
342	If we choose to neglect these significances and choose to think without care, certainly	如果我们选择忽视这些意义选择不小心思考,当然
343	that is a fault of our own rather than of the model itself.	那是我们自己的错,而不是模型本身的错。
344	So too are the feelings and experiences of the individual.	个人的感情和经验也是如此。
345	Francisco Goya was a strong man, sensitive and strong.	弗朗西斯科·戈亚是一个强壮的人,敏感而强壮.
346	Goya absorbed events in the world around him.	戈雅吸收了他周围世界的事件.
347	He felt pain and he acted in a way that was honest to himself.	他感到痛苦,他的行为方式是诚实的。
348	Our inability to build this airplane, our inability to empathize, does not make Francisco	我们无法建造这架飞机我们无法同情弗朗西斯科
349	Goya a crazy person.	戈雅是个疯子
350	His legacy should not be embellished by romantic vague notions of an artist driven to madness.	他的遗产不应该被一个被逼疯的艺术家的浪漫模糊概念所装饰.
351	Instead, Goya and his work exist as profound reflections of the human condition, both internal	相反,戈雅和他的作品是对人类状况的深刻反映,无论是内部还是内部的。
352	and external.	和外界。
353	This is a gift he has given us and one that we would do well to repay.	这是他赐给我们的礼物,也是我们该报答的礼物。

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