What is happening with Goya?
The article is provided in translation
Spanish language magazine Fundetel.
on the images below for enlarged pop-up windows.]
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readers of Fundetel already have previous
knowledge about the obscure landscape surrounding
the splendorous work of Francisco de Goya y Lucientes.
Our magazine, in rigorous investigative news had offered
in its issue number 3 a great deal of the conclusions
to which the investigative professor Antonio Perales
Martinez had arrived to.
As a result of the most impressive and sophisticated
identification technology (I+D+I) that had brought
to the surface the mysteries of the technique utilized
by the universal Aragonian master, there were left
no room for any doubts about the hypothetical authorship
of his paintings.
Professor Perales methods are rigorously scientific,
as infallible as the application of means of high
technology can be (pigments composition analyses,
radiographies, reflectographies, etc.) once been put
to the service of Art.
Goya, who was gifted genius with a prodigious craftsmanship,
signed his paintings plus a whole range of his creations
in the most unexpected places with his micro signatures
and disguised graphics of the most varied assortment;
his imprints can be found even in inconspicuously
hidden places in the wooden supports and frames of
his painting. (See photo)
This Goyesque magic was discovered by
Professor Perales Martinez after more than 33 years
of intense work as main restorer of the Institute
for the National Patrimony in Spain. What Professor
Perales reveals is not a simple coup doeil
or a first sight impression but, quite
on the contrary, the results of a meticulous analysis
of concrete signs of authenticity that are much more
related to Chemistry and Physics that the artistic
experience of the most noted of all the experts.
The actual disparity of these two approaches resides
in the recognition and validity of scientific methods
against the glance or visual impressions
in which all diagnostics are based upon, until now
It is unconscionable to accept that what seems
to be for he or she, can be prevalent over the
most exact and rigorous scientific physical tests.
opinions or just guesses?
page about the painting Coloso, is here.)
Now it came to
happen that two of the most symbolic paintings of the work of Goya are
being questioned just because somebodys subjective opinion. Such
an outrageous statement creates doubts, authentic social alarm without
anyone explaining how such a diagnostic has been reached or which have
been the tests these works have been subjected to.
The answer is that it will take a few years to reach a final diagnostic
when; in reality with the scientific technique we are referring to,
10 days would be enough. And to make things worse, Goyas own testament
and last will has not been taken into account, as both these pieces
appear in his general inventory drafted by him and also including all
of his possessions at home when he died.
According to several
experts, those who support themselves in science and many others that
dont, plus accredited historians and students of the subject have
no doubt whatsoever of Goyas authorship of these two paintings.
Nor should they have any, either.
Since random extraordinary happenings in history, like wars or moving
around the paintings for whichever other reason, copies have been made
and they may have sometimes replaced the originals, but the method to
verify their authenticity is as follows:
First. - Taking numerous macro photographies to locate and visualize
signature or signatures that Goya incorporated over the pictorial veil
in all his works.
the existence of the symbolisms and graphisms that master Goya disguised
in every of his creations and that become part of the pictorial reality
of the work.
Perform the described pigments composition analysis using samples
taken from various different places of the painting (at least 5 of different
colors) as well as a dating analysis of the canvas or media. These will
demonstrate exactly the approximate date of the painting because all
the samplings and comparisons of Goyas palette must
coincide with the already catalogued and classified pigments components
known to be used by Goya at that particular time. This is because Goya,
according to the époque, used to alternate pigments.
out the exhaustive radiological study by sections by which all the micro
signatures and graphics that the artist, before he began the painting,
lended to the foundation and primers of his creations will be detected.
must also be taken into account that in the case that the wooden frames
of the paintings are original, as they are supposed to be in these particular
two cases, they will equally present these miniatures engraved signatures
that could also be found in the decorative exterior frames.
the image above for a 700 pixel-wide enlargement.)
the other hand, if someone affirms that the authorship
of these paintings corresponds to any other person,
whether they attribute this person with a full
name or not
let him or her demonstrate why
and prove it!
could be the basis to proclaim, suppose or in
the best of cases spread any doubt saying that
the author of this painting is Rosario Weiss,
step-daughter of Francisco Goya? Rosario, at that
time was only 13 THIRTEEN years old!
common people, the ordinary citizen, whether a
plain art admirer, a renowned connoisseur or not
of Goyas works, collector or plain Museum
visitor must be wondering
on with Goya? What is REALLY happening with Goya?
The answer is out there for all to see; the earth
can no longer be flat just because
some say so!
Is it a most extreme jealousy from the part of
the people involved, experts, art historians,
appraisers, auctioneers or is it simply a matter
or egos or perhaps it is just
We hope to soon present the next Fundetel
magazine article title NEW GOYAS.
The above is part of a series of articles published
by the Spanish Magazine FUNDETEL. Reprinted
may not accurately portray specific Spanish expressions
or be totally literal.
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