Black and white abstract arts-Drawing the pattern of gebrac carpet painting is very important for goya's future artistic road.
This kind of design or painting draft does not need the kind of academic integrity that oil painting must have,Large Wall Art which enables the young goya to express his fantasy more frankly and
In addition, although the subject matter must be guided by mengus,Modern Canvas Art the subject matter prescribed for the gebramba carpet has folk characteristics and
is taken from contemporary life.
As a result, goya has an excellent opportunity to free up his imagination.
The pottery market, created in 1778 as the "pottery market" (figure 1), shows the main advantages of goya art quite clearly.
Clear of drawing performance, character and background of the perfect amalgamation, the composition of seemingly chaotic richness, for each added tender breath as if at random characters of flexible pen, make every woman like a lady
dignity, make each piece of pottery chardin's still life in the 18th century the common interest of the elegant style - all of which are created by Bradford goya,Large Abstract
Canvas Art although is not out of Europe, appoint lars katz, Venice and French extremely fine tradition.
However, in this painting, goya's unique and incomparable hand is already felt: there is confidence, determination and something unexpected in the picture.
Each character is vivid and moving, but also has its own.
Goya loved the people he described with tenderness, but not without a disdainful smile.
He created a fairy tale and incorporated it into the form of a poem.LARGE ABSTRACT PAINTING, MODERN WALL DECOR

After the death of Charles iii and the accession of Charles iv in 1789, goya became a court painter. Although goya held court office, his heart did not belong to the court.
Instead, he harboured the heart of a rebel, though goya himself did not realise it.
A sudden disaster opened his eyes to what was going on around him, roused in him a deadly courage, made him express his feelings with the utmost sincerity, and gave him real moral freedom.

The inquisition's goya became seriously ill in 1792 and lost his hearing.
Goya wrote in 1794: "my health remains the same.
Sometimes I can't control myself, so that I hate myself;
Sometimes I feel calmer.
But he lost something: optimism.
Speaking of deafness, goya belonged to himself to a greater extent because he was cut off from the world.
As a result, his art became more profound.
He wrote in 1794: "in order to occupy the imagination repressed by the spectacle of my suffering, and in order to partially offset the great expense of my illness, I set out to paint a series of pictures, chiefly of my observations,
which are often impossible in works of subscription, and which are impossible at all to imagine at all."
Among these paintings is a "inquisition" (figure 2).
Compare it to the pottery market (figure 1).
In front of us is a new kind of art;
If we can guess that this is the painter, we cannot but marvel at this change in his character.
His brisk strokes show a cheerful, trusting smile in "the pottery market" and a sneer of disappointment in "the inquisition".
Large, dark parts of the picture seemed to be filled with horrible visions.
The dark side in the distance, blankly absent.
In the midst of this unbroken mass of phantom-like forms moved a band of priests who were supposed to be judges only by demons;
They are full of intrigue and cruelty, deceit and stupidity.
Among them we see but one human being - the accused who has bowed his head under the weight of the absurd hatter and who has had to submit to fate.
In the performance of all these feelings, painting not only USES its own means to create a mixture of light and shadow, to create the sudden appearance of lightning-fast light in the dim dim, but also to create the complete separation of
visible form and spiritual form (whether man or ghost is the same after all) from all forms.
Thus we see not only the moral beauty, which is not dependent upon the physical beauty of the principal accused, but also the brutish beauty of the grimly smiling monk, and of the bossy monk, and of the bossy monk, and of the demented
figure in the audience.