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From the 1790s, two things happened to turn Goya into the artist so admired today.
从17世纪90年代起，有两件事让戈雅成为了今天如此受人钦佩的艺术家。
One was a mysterious illness, possibly lead poisoning from his paints, that left him deaf.
其中一件事是一种神秘的疾病，可能是颜料导致的铅中毒，这导致他失聪了。
That caused him to look inwards.
这让他开始向内观察。
His paintings began to deal with beliefs and transgressions.
他的画开始涉及信仰和违法行为。
A great colourist, his canvases became almost monochrome, dominated by blacks and browns.
他是一名伟大的色彩画家，可他的油画几乎从此变成了单色，以黑色和棕色为主。
One series denounced violence against women.
他的一个画作系列谴责了针对妇女的暴力行为。
Paintings now in the Academy detailed fanaticism in flagellants and the Inquisition, the phenomenon of witchcraft, the plight of prisoners and fantasies of the madhouse that mocked the “normal” world.
现在位于该学院的画作细致描绘了鞭笞者和宗教法庭中的狂热、巫术现象、囚犯的困境以及嘲弄“正常”世界的疯人院的幻想。
Goya also became a prolific printmaker.
戈雅也成为了一位多产的版画家。
In “Los Caprichos” (“The Caprices”) he lampooned the church and social hypocrisies.
在《突发奇想》中，他讽刺了教会和社会的虚伪。
The second turning-point was the French revolution, with which he sympathised, and Napoleon’s invasion of Spain and the long Peninsular war that followed.
第二个转折点是他同情的法国大革命，以及拿破仑入侵西班牙和随后的漫长半岛战争。
The ensuing brutality forced him to review his ideas.
随之而来的暴行迫使他重新审视自己的想法。
“Goya goes from being a follower of the Enlightenment who believes in the capacity for regeneration to a person whose experience leads to despair,” according to Javier Portus, the chief curator for Spanish painting at the Prado.
普拉多博物馆西班牙画展的首席策展人哈维尔·波图斯说，“戈雅从一个相信复兴能力的启蒙运动的追随者，变成了一个因经历而绝望的人。”
This bleak vision was expressed in the “Black Paintings”, executed as frescoes on the walls of La Quinta del Sordo, Goya’s country house, and now occupying Room 67 of the Prado.
这种黯淡的愿景在《黑色绘画》中表达了出来，这些画作曾以壁画的形式出现在戈雅的乡村别墅“聋人屋”的墙上，现在占据了普拉多博物馆的67号展厅。
They were painted for himself, not the public or the court.
这些画是为他自己画的，而不是为公众或宫廷画的。
They are peopled by nightmare figures, crones and paupers in rags, their mouths gaping cavities.
画上满是噩梦般的人物，比如衣衫褴褛的老妪和乞丐，他们的嘴巴都张得大大的。
It is as if dead souls returned to haunt the living.
仿佛死去的灵魂又回来纠缠活着的人。
Yet they are recognisable in the homeless people found in the streets of post-pandemic cities.
然而，在疫情爆发后的城市街道上发现的无家可归者中，很容易就能认出他们。
There was despair, too, in a series of prints, “The Disasters of War”, not published until 1863: body parts strewn on trees, piles of corpses, people being clubbed to death.
直到1863年才出版的一系列版画《战争的灾难》中也有令人绝望的景象：尸块散落在树上，尸体成堆，人们死于棍棒之下。
“I saw it,” he wrote on two of the prints.
“我看到了，”他在其中两张版画上写道。
He certainly visited the ruins of Zaragoza after the French siege, and he lived through the famine in Madrid in 1811-12 in which perhaps 20,000 died.
他无疑参观了法国围困后萨拉戈萨的废墟，他经历了1811至1812年间马德里的饥荒，大约有2万人在那次饥荒中丧生。
Yet the power of his portrayal of war is not as a literal record, but that it cuts to the essence.
然而，他在描绘战争时的力量并不是字面上的记录，而是他的描绘切中了本质。
It is war seen close-up, never heroic.
特写中看到的是战争，从来都不是英雄壮举。
Each age sees what it wants in Goya, Mr Portus notes.
波图斯指出，每个时代都能从戈雅身上看到它想要的东西。
That testifies to his genius in communicating ideas and images.
这证明了他在传达思想和图像方面的天赋。
He was of his time; other Enlightenment artists shared his concerns.
他属于他的时代；其他启蒙运动艺术家也和他有同样的担忧。
But he alone transcended that time to speak universal truths about the human condition so directly.
但只有他一个人超越了他的时代，如此直接地讲述了关于人类状况的普遍真理。
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
