What is happening with Goya?

Reprinted with permission.
The article is provided in translation from the
Spanish language magazine Fundetel.

[Click on the images below for enlarged pop-up windows.]

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The 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 (pigment’s 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 d’oeil” 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.

Whimsical opinions or just guesses?

(A 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 somebody’s 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, Goya’s 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.

The rigorous procedures

According to several experts, those who support themselves in science and many others that don’t, plus accredited historians and students of the subject have no doubt whatsoever of Goya’s 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.

Second.-Verify 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.

Third. - Perform the described pigment’s 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 Goya’s “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.

Fourth.-Carry 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.

Fifth.-It 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.

(Click the image above for a 700 pixel-wide enlargement.)

On 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!

What 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!

The Unknown

The common people, the ordinary citizen, whether a plain art admirer, a renowned connoisseur or not of Goya’s works, collector or plain Museum visitor must be wondering…what’s going 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 …business?

We hope to soon present the next Fundetel magazine article title NEW GOYAS.

NOTE:
The above is part of a series of articles published by the Spanish Magazine FUNDETEL. Reprinted by permission.

Translation may not accurately portray specific Spanish expressions or be totally literal.

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