LATEST UPDATE 02/2017
Este es un sitio bilingue. English and Spanish. El 50% de su contenido se encuentra en idioma Castellano (Espanol).
Traduccion automatica al idioma espanol por Google-Translations, inserte o copie y pegue URL o direccion de esta pagina en el cuadro de:
http://translate.google.com/translate_t# 
y cambie (swap)  "English to Spanish".

MISSION STATEMENT
This website's objective is to prove BEYOND ANY REASONABLE DOUBT through science applications, modern computer optical recognition technology, laboratories studies and state of the art analyses, that Goya not only didn't sign his paintings in the conventional way, but that he indeed riddled them with his miniaturized signatures, graphisms and symbols. This was Goya's unique way of genial artistic expression and to also ensure the irrefutable authorship of his works.

Goya was a genial precursor of "steganography," which refers to the science of concealing messages within images. In  his case his own four letters signature "G-O-Y-A."

At last an impartial, objective, unbiased verifiable 21st. Century DIGITAL authentication technique is now available !
The terms "thesis", "hypothesis", "theory" or even "controversy" when referring  to the existence of Goya's miniature signatures embedded in his original works have become OBSOLETE as they are no longer applicable. The factual existence of such hidden firms is a scientifically proven FACT!

This modern technology also applies for detection of fakes, forgeries and imitations of the genial work of Francisco de Goya.




Another redundant confirmation method for the detection of actual and incontrovertible evidence of hidden Goya signatures.
Modern science debunks Mena's denial of the existence of these hidden signatures. Painting auctioned without the Prado "opinion".
Highly technological modern method to detect Goya's hidden signatures not visible to the naked eye. CLICK ON IMAGE for full article.
Document
Click and press F5 for Power Point Presentation.
Document
Desenmascarando a Juliet Wilson Barreau y Manuela Mena. Articulo investigativo por Alberto Gallo de la Revista espanola "Interviu Internacional." La saga de la conspiracion para descalificar la ya cientificamente comprobada existencia de firmas miniaturizadas ocultas en las obras de Goya.
 
EXCLUSIVE! Prof. Antonio Perales "en sus propias palabras". A personal video-audio expose insight into the content of this dedicated Goya site. Click on the following link.
Media
Exclusive Antonio Perales Interview "Goya's secrets discovered"
University of Mataro Patented F.A.CT.S. authentication method.
Metodo computarizado F.A.C.T.S. Similar tecnologia utilizada para detectar celulas cancerosas. Contribuira a eliminar el "cancer" de indolencia que afecta la obra de Goya? CLICK ON IMAGE for complete ENGLISH VERSION PDF document.
The art piece is NOT manipulated in any form. It is the same method used to detect breast cancer nodules or tumors.
Document
Prologue Digital Catalogue of Goya's inedit work.pdf
Document
Prefacio en Espanol del Catalogo Digital Obras Ineditas de Goya.
Fully Automated Computerized Analysis Technological System or F.A.C.T.S. A fool proof computerized analitic OCR program of authenticating Goya's works.
Cover of New and Comprehensive "New Alternative Digital Catalogue" of Inedited Goya's works.The registered and copyright 21st Century Fully Automated Computerized Analysis Technological System or F.A.C.T.S. (click on picture for details) assures undeniable authenticity.
Modern Detection Technology used, acepted and even enforced on EVERY other Old Master's work EXCEPT Goya? Why?
 
Its happening in Museums all over the World. Paintings are being subjected to close examinations through modern scientific methods in order to reveal their true identity. Many fakes and or copies authenticated and praised by classical "experts" are being unmasked and brought down.
See article:
http://www.dw-world.de/dw/article/0,,5786847,00.html

He aqui la prueba cientifica incontrovertible de la existencia de firmas ocultas en Goyas:
Here is
the incontrovertible scientific proof of Goya's hidden rubrics and signatures:

http://www.goyadiscovery.com/images/GrafismosUniversidad_PDF_Sacristan.pdf

http://www.goyadiscovery.com/images/Multiple_evidence_in_known_Goya_s_works.ppt
(PRESS  F5 FOR PRESENTATION)

Spanish T.V. (R-TVE Antenna 1) broadcasts worldwide via satellite the extraordinary discovery of a hidden Goya's mini-signature on the blade of a knife in one of the most famous undisputed Goya's paintings. CLICK ON FOLLOWING ICON OR LINK.
Media
Goya's miniaturized signature discovered by El Prado Museum's OWN specialists team while restoring "Los Fusilamientos del 2 de Mayo y "La Carga de los Mamelucos."
"La Carga de los Mamelucos" rev ela un precioso secreto de Goya al mundo.
A small hidden Goya signature has been accidentally discovered disguised on a knife's blade (see red circle) while in the cleaning process as El Prado's restorers were removing the darkened veil of varnish. Four restoration experts (Elisa Mora, Enrique Quintana, Clara Quintanilla, jointly with the Gabinete Técnico del Prado and Goya expert Carmen Garrido) today, Feb. 28th. 2008, shared with the world the exceptional news in the National Spanish TV Network (R-TVE) in cable and satellite. This monumental finding comes to vindicate the long discussed controversial theme of Goya's miniature signatures been hidden or imbedded by the Spanish Old Master Goya in unusual, disguised or hidden places. Mrs. Carmen Gonzalez Mora appeared on the video clip broadcasted this morning. Further details to be published in this site soon. Click on image for original restoration announcement by El Prado.
Photos and caption as published in the Spanish Media.
Minifirma de Francisco Goya en "La Guerra de los Mamelucos"."
Firma miniaturizada de Goya oculta en la hoja del punal.
"Mistery at El Prado" Manuela Mena's failed attempt at discrediting the discovery of Goya's hidden signature. Unable to explain who did it, when, how or even where. A case of "believe me... don't believe your lying eyes.! Scroll down.
Madrid Forensic Graphology Department investigate and identify unveiling Goya's hidden signatures, rubrics, inititals embedded in his paintings.
Testimonio oficial en Corte de las oficiales expertas en grafologia forensica de la policia de Madrid Francisca Alsina e Irma Lidon.

“"A simple vista, con una lupa, aparecían algunas grafías”
(caracteres del apellido Goya que supuestamente integraba el pintor en la tela durante el proceso de creación para conformar sombras, toques de luz, perfiles…). Al pasar luz infrarroja localizaron varias firmas completas y grafismos sueltos. “Para nosotras era un sello personal, un rasgo de egocentrismo o de divertimento”.  Alsina y Lidón concluyeron en el juicio que : se habían localizado letras que se corresponden grafonómicamente con la letra auténtica del pintor de Fuendetodos” .



Manuela Mena
Vea a continuacion el video clip de la engorrosa entrevista a Manuela Mena en el Museo del Prado  publicado en exclusiva por este sitio web dedicado a difundir objetivamente toda informacion relevante sobre el metodo de auto-autentificacion del genial pintor aragones Francisco de Goya atraves de sus firmas miniaturizadas ocultas, cuya comprobada existencia ha sido objeto de multiples estudios y verificaciones investigativas y cientificas por parte de varias instituciones academicas.

Manuela Mena, sorprendida por la pregunta, cacofonicamente intenta infructuosamente, de modo vacilante, ciertamente desatinado y desacreditado por la tangible evidencia, desmentir la veracidad y fomentar absurdas dudas sobre el origen de la pequena firma de Francisco Goya encontrada recientemente por sus propios colaboradores, en el mismisimo Museo de "El Prado" ademas, durante la restauracion de "Los Fusilamientos del 2 de Mayo" o "La Carga de los Mamelucos."

Manuela Mena se esfuerza en  desacreditar e ignorar la firma oculta de Goya encontrada en "La Guerra de los Mamelucos." En su desafortunada pseudo version llega al extremo de decir "ignorar" como "aparecio" esa firma "tardiamente" y que estaba hecha "a lapiz" (textualmente dice "lapicero negro" insinuando el uso subrepticio de un moderno metodo mecanico de escritura...) sin ser capaz de establecer o aclarar como, cuando, donde y sobre todo...por quien!
 
Convenientemente no menciona el hecho que su equipo de restauradores, para detectarla, tuvo que primero remover el barniz original obscurecido y opacado por el transcurrir de mas de dos siglos que la cubria!  Asi mismo, Manuela Mena desprovista del menor recato o respeto a la verdad,  mal intencionadamente desinforma y omite la existencia de los multiples modernos metodos tecnicos no invasivos disponibles para examinar dicha firma de Goya sin "tener que destruir esa zona"! como ella deshonestamente afirma.

Es hora que el reino de soberbia impunidad,  descalificaciones, desatinos y controversias que desprestigian la credibilidad del Museo del Prado sea seriamente examinado por los multiples escolares, expertos, conocedores de la obra de Goya principalmente aquellos espanoles a quienes mas les deberia afectar y concernir y  que se han venido oponiendo publicamente a tales desmanes y abusos que, al parecer, no acarrean consecuencia alguna para la Sra.Manuela Mena.

Cliquee sobre
el icono (MOVIE) o el enlace que encontrara inmediatamente bajo este texto.



Media
Video de Manuela Mena intentando negar autenticidad de firma miniaturizada de Goya hallada en "La Carga de los Mamelucos"
 
El caso de Goya, pendiente de una catalogación definitiva reclamada permanentemente por los expertos, es un asunto abierto y propicio a sorpresas permanentes.
http://www.elpais.com/articulo/cultura/Goya/venta/busca/comprador/elpepicul/20110311elpepicul_6/Tes

Una montana de evidencia irrefutable. Un "blog expose" concreto sobre el intento de ignorar su obra inedita.
Goya ratifica la autenticidad de sus obras aun desde su inmortalidad artistica. Goya ratifies and self authenticates his authorship. CLIQUEE SOBRE FOTO para articulo integro.
Un Goya inedito descubierto . "La Piedad" 1774. Lea articulo completo de "El Pais" Seccion cultura 12/27/10
Mismo rostro en todas las Virgenes de Goya
El especialista Arturo Ansón Navarro Profesor de la Universidad Autonoma de Madrid atribuye al pincel del maestro aragonesuna Piedad de 1774, propiedad de unos coleccionistas privados - El debate está servido entre los expertos . Click on photo for complete original articulo from "El Pais" published 12/27/2010. Credenciales del Prof. Navarro en: http://portal.uam.es/portal/page/profesor/epd2_profesores/prof719/docencia
 
"Contemplaba el emotivo rostro de la Virgen, que inmediatamente relacioné con el de la posterior figura de "La Caridad," en una de las pechinas de la cúpula Regina Martyrum de El Pilar..." 
 
While contemplating  the touching face of the Virgin, I immediately related it to the one of the later figure of Goya's "The Charity", in one of the "pechinas" of the cupola Regina Martyrum of the Pillar…


This newly discovered Goya's Virgin face is exactly the same one found on many of his virgins 
paintings, oval shaped face wide eyebrow separation, straight nose bridge, small mouth with prominent fleshy lips...

Please, attentively observe the same facial features or traits consistently repeated by Goya in his virgins or religious theme female characters.


Rostro Femenino Tipico de Goya
"Cabeza de Angel" Boceto de Francisco de Goya 1772.
"Cabeza de ángel". Boceto hecho por Francisco de Goya para la decoración al fresco de la Basílica del Pilar. Observe claramente los rasgos faciales muy particulares que Goya imprime a sus figuras femeninas.
De particular interes son su forma oval, las cejas ampliamente separadas, el puente recto de la nariz y sobre todo la boca goyesca de labios muy carnosos.


"Head of an Angel." Sketch made by Francisco de Goya in 1772 for his fresco decoration in the Basilica del Pilar. Note clearly the very particular facial features Goya imprints his female characters with.
Of particular interest are its oval shape, widely spaced eyebrows, the straight bridge of the nose and most noticeable his goyaesque small mouth with fleshy lips.

Regina Martyrum Goya's Character
Tipico rostro femenino goyesco. Personaje Cupula Basilica del Pilar.
Rostro femenino especifico de Goya en Regina Martyrum.
Personaje goyesco en Cupula Regina Martyrum. Cejas bien separadas, nariz recta, la misma particular boca pequena y carnosa .
Virgen "La Dolorosa del Pilar" Goya 1778
Detalle de Virgen "La Dolorosa" Goya 1781. Rostro oval, cejas bien separadas, nariz recta y boca labios pronunciados y carnosos.
Portrait of Contess Fernan Nunez 1803
Retrato de la Condesa Fernan Nunez by Francisco Goya 1803. More proof of Goya's obsession with hidden identification rubrics and signatures.Believe your own EYES. ...or what Prado/Mena say?
Esta magnifica obra de Francisco de Goya en permanente exhibicion en el Metropolitan Museum of Art de New York  en la cual Goya firmo de modo miniaturizado  en lo que pareceria una tarjeta de presentacion yaciendo sobre el suelo. La grafia del gran maestro indudablemente autentica, tal cual la accidental e involuntariamente descubierta en "La Carga de los Mamelucos".
Acaso la Sra. Mena tambien intentara descreditar esta otra prueba de una evidente y constante practica de Goya?


Portrait of Countess of Fernan Nunez by Goya, 1803
Left.-Hidden Goya's signature disguised as a bush. Right. Goya's signature outlined in red. Las cuatro letras de G-O-Y-A disimuladas como arbustos. Por que Mena sigue negando esta practica habitualy compulsiva de Goya?
Small Goya's disguised signature in piece of paper or card.
Don Manuel Osorio Manrique de Zuniga by Goya (1784-1792) Observe contenido ovalo rojo a continuacion.
Acercamiento a mini firma de Goya en ovalo rojo
Editorial synthesis by http://eeweems.com/goya/ addressing the "core" of this specialized web site. These main three topics are dissected and scrutinized in detail within the following pages


Professor Antonio Perales
. Probably the leading exponent of the "Goya graphism" method of authentication. Using the usual technical tools of analysis, Pereles added to this a comprehensive effort at understanding and recognizing the "hidden" Goya signatures that occur on many accepted (and unaccepted) Goya works. Unfortunately, Pereles recently died, but his efforts as a long-respected restorer and then controversial authenticator has had a major impact on what is going forward in the battle between the Prado experts and those aligned in Spanish academies and art collection circles outside of the museum system.

Goya Discovery.com: Probably the best English language source for information about the struggle between the "scientific method" of authentication and the subjective "eye-technique" when it comes to Goya.

The Scientific Method versus Eye Technique.

About the 'scientific method' and the 'subjective eye technique': Neither term accurately pinpoints where the division between the two methods occurs, since both utilize tools that are in the provence of the other. Both use chemical analysis, x-rays and historical research through written records contemporary to Goya. Also, each use the same lists of known Goya works from the time following Goya's death when his works were being sold off by his heirs.

What is more distinct is the situation now for these two camps, one inside and one outside of the Prado museum. The frustration of owners of paintings which on balance probably are by Goya, but who face a barricade when it comes to having them accepted in the world of the museum and that of the lucrative, high-paying auctions, is pressuring a move forward getting tools of authentication accepted that will supersede the opinions of two specific Goya experts: Goya curator Manuela Mena Marqués and longtime Goya authority Juliet Wilson Barreau.

The situation for "new" Goyas.

Without a strongly supported provenance proving parentage, a painting is left to other devices to demonstrate its authorship. Unfortunately, the current trend is to sensationally discredit ALL Goya paintings presented  to  the Prado , versus identifying and adding to the list of known Goya works.

Perhaps this is a reflection of the tension within western museums on the whole, where forgeries sometimes surface, embarrassing more than just a staff, but also the endowing agents who are the source of much of the support money that keeps an expensive enterprise like a museum going. There is also the struggles over ownership of objects that may not have entered a museum collection through verified legal means.



Firma de Goya detecta por medios tecnicos.
Retrato de Antonio Maria Esquivel. Note Goya's personal capital "G" in hidden signature
Detalle "Los Fusilamientos del 3 de Mayo" 1808
Close up of distinguishable traces in hand of praying character.
Highlighted contoured Goya's signature disguised as hand's crevices.

The following link illustrates some of these aforementioned zoo-gaphisms, here shown in Goya's "The Dead Turkey," Pavo Muerto, at the Prado Museum. Please also visit pages 5 and 7 of this site's menu lower for more evident examples.

  Click here:http://www.eeweems.com/goya/graphisms_turkey.html
"


Hidden graphisms and signatures in Pavo Muerto
Pavo Muerto (Dead Turkey) by Francisco Jose de Goya. Muchas otras famosas pinturas mostrando evidencias de sus grafismos incorporados en Pagina 5.-Evidence Page y Pagina 7.-More Evidence.
Graphism No 1.-Second smaller hidden turkey disguised as a wing.
No.2.-Diminutive image of bearded man's face at left of Turkey's eye.
GOYA in cursive signature (lighter colors) at base of painting
Modern Ultra High Definition photography technology reveal "hidden faces" embedded in Old Masters paintings. Goya was NOT the only one using this subliminal technique.
Rostros Ocultos en obras de grandes maestros revelados por la mas moderna tecnologia fotografica de la Super Alta Definicion!

No era una particularidad exclusiva de Francisco de Goya! Lea el siguiente articulo::

http://vromo.blogspot.com/2009/01/rostros-ocultos-en-obras-maestras.html
 
http://satiralirica.com/2010/03/goya-y-los-simbolismos-ocultos-goyadiscovery-com.html

                                                                                 

Document
Revista "VANIDADES" Articulo de periodista especializada en Arte Marcia Morgado sobre la Era de la Digitalizacion del Arte de los Grandes Maestros
With intense pain we affront the physical loss of Professor Antonio Perales Martinez.
With an equivalent pain we also confront the potential consequences of the disappearance of the seemingly most representative public figure against the abuses, excesses, negligence and sheer incompetence of those who, stubbornly and against every conceivable evidence and proof, insist in denying the accuracy and veracity of Professor Perales'es findings.


Are the retrogrades, archaic minds and fact deniers (infamously represented by one single person Mrs. Mena from "El Prado") going to "win" over rationality, a redundant modern science way of discriminating the real Goyas, multiple other Goya experts opinions, irrefutable physical evidence, etc. just because the most vocal and ardent Goya defender has passed away?
When will the Spanish Intelligentsia, Academia and even the Government representatives of the Spanish cultural heritage are, finally, going to step up and bring forth the scientific methods of the Twenty First Century?

Regrettably, if WE don't keep Professor Perales'es work and truth alive, the "obsolete crowned heads" masters of all things Goya at "El Prado" will, perhaps, rejoice. And the world will silently weep along with the man who heralded Goya's geniality of an unique self authenticating method,  the loss of  many yet unknown masterpieces and yet undiscovered paintings by the greatest and most representative of  Spanish Old Masters, Francisco Jose de Goya y Lucientes.

In human history
many are the cases in which thinkers and avant guard persons did not see in their lifetime the sucess or recognition of their findings or discoveries. History also shows us that, eventually, they all did. Even in times of undeserved discredit, they still said: " "E pur si muove"...and yet..IT moves...!
Commentary by Editor.




Comentarios recibidos de nuestros numerosos seguidores de Goyadiscovery.com
:


"No es la primera vez que la Sra. Mena desacredita una 0bra asi sin más, en contra de opiniones de todo tipo de expertos. Desgraciadamente prevalecen sus opiniones.
En el año 2004 descalificó la exposición "En busca del Goya perdido", realizada en Zaragoza con el ánimo de aflorar posibles obras del genial aragonés, imposibilitando el estudio de las que se presentaron y aprobaron los expertos comisariados en la muestra.
Aún sigo sin entender sus motivos, dado que supuestamente el fin de la exposición no era otro que dar la posibilidad de acceder a los expertos del Museo de Bellas Artes de Zaragoza
."
 -------------------------------------------------------------------------------------------------------------------------------------
Que pasa con El Prado?.....¿En el Siglo XXI, se manejan con el Ojo Virtuoso?...Ja, ja, ja,... da risa ¿no?... ¿Donde quedó la tecnología, los rayos infrarrojos, le espectrografía, los radiografías, los programas computarizados de la Escuela Politécnica de Mataró, para la detección de las Microfirmas y grafismaos de Goya, y los programas para la detección de la pincelada, que se aplicó en el Caso Rembrandt?.... ¿Será que utilizando estas técnicas se termina el Negocio del Ojo,....y de las Virtuosas del Ojo??... Es que el Prado, uno de los principales museos del mundo y Goya, un Genio Universal no se merecen el manoseo público y escandaloso de personas que basan sus criterios de autenticación en un Ojo Virtuoso (será que también tienen la Bola de Cristal o un Oráculo escondido que no conocemos).- ¿Por favor señores, mas seriedad !!!...


Nota del editor:
Este obsoleto y demodado culto a la autocracia profesado por  Manuela Mena que por razones que escapan a la sensatez es reminescente, debida y justa cuenta tenida, de la soberbia actitud que se encuentra en paises del Medio Oriente. Senores, hora es ya pasada de sustituir la Mena-monocracia de Goya en el Prado y reemplazarla por una Comision multi especializada de
objetivos e imparciales 
expertos en Goya.
Goya y su obra completa incluyendo la inedita o aun desconocida es patrimonio de todos!
Que esta se decida y autentifique por sus meritos propios, de consenso plural entre los tecnicos y expertos tras aplicarle todas las pruebas y examenes habidos y por haber! No un simple vistazo a una foto seguido del desdeno automatico! Y esto lo hace la Mena de modo INAPELABLE, SUMARIO y DEFINITIVO.  HASTA CUANDO senores del Museo del Prado?


En el apasionado mundo de las atribuciones de los grandes maestros, por el que se camina con pies de plomo y en el que el prestigio académico es la moneda de apuesta, Goya es un género en sí mismo. Acaso no haya pintor que genere mayor pasión revoltosa que el genio sombrío del aragonés.
In the passionate world of  attributions of the great masters  ,which is walked warily and where the  academic prestige is the bet currency, Goya is a sort of "sui-generis"  himself. Perhaps there is no other great painter who generates major rebellious passion that the mysterious genius of the Aragonese Master.
Click on text for complete article

http://www.elpais.com/articulo/cultura/Controversia/goya/juventud/elpepicul/20101227elpepicul_1/Tes

Hallan simbolos y numeros ocultos en la "Mona Lisa". DaVinci-Goya un paralelismo en su tecnica oculta?

Document
Cornell University and "NOVA Science Now" TV program display a computerized digital image processing system to detect fake or fraudulous paintings
Is it really authentic...follow the3 algorithm!
Darthmouth College computer scientists have formulated a technique that could help authenticate art. Dan Rockmore, Hany Farid and Siwei Lyu examined "Madonna and Child" Though it's credited to the Renaissance painter Perugino, some art historians think other artists contributed. Using high-resolution scans of subjects' faces, they applied a computer algorithm and gave each face a data point. In a three dimensional graphical summary, the points for the three faces labeled "A" clustered: the three marked "B","C" and "D" were scattered. Those patterns, the scientists say, suggest that at least, four distinct hands contributed to the painting. The fact that there's possibly a mathematical way to quantify what the "art" expert picks up on is an amazing and beautiful thing." Article appeared on "NEWSWEEK Magazine on December 6th., 2005.
The British National Gallery is not the only museum in recent years to shine a spotlight on fakes and forgeries, which some experts say could make up as much as 40 percent of the art market.
Technology versus fallible human eye.
Modern Technology unmasks fakes and forgeries in famous British Museum. Why aren't famous auctions houses protecting their clients by applying these methods to their Francisco Goya potential consigments? Click on picture for original publication.
EDITOR'S Comment:
In the 21st Century it is only logical, sensible and appropriate to use 21st Century Methods to properly identify precious, one of a kind paintings.

In the case of Goya's paintings as unbelievable as it may sound, Sotheby's and Christies's rely ONLY in the opinion of the many times proven just plainly wrong of two single persons. The fallible, subjective and prejudicial human "eye" for these auction houses is more "reliable" more "trust worthy" than all the combined modern 21st Century technology which they unreasonably refuse to validate.

All in the detriment and at the expense of rightful owners and their clients who are exposed to acquire worthless forgeries. Incredible, highly unethical and a very probable cause
for potential legal action against these "duo-polic" auctions houses. It won't be the first time!
Let's not forget that both auctions houses and their respective chairmen have 
already been sued, judged, found guilty, convicted and fined hundreds, to be exact 517, millions of dollars for conspiracy price fixing and fraud. See:
http://www.lasemana.es/periodico/noticia.php?cod=1833
http://news.bbc.co.uk/2/hi/americas/1694435.stm
http://www.forbes.com/2001/12/13/taubmanindex.html

http://findarticles.com/p/articles/mi_m0HMU/is_6_29/ai_87207357/

Otra "gota" mas de indignacion o un llamado a la opinion publica, colegiada o no, a participar activamente con comentarios, opiniones, sugerencias, consejos, criticas, etc.  La pasividad o indolencia son sinonimos de complicidad con esta ultrajante e intolerable  situacion de menosprecio y desdeno a la genial obra "paralela" de Francisco de Goya. No es ya una opcion decente y muchos menos aceptable. El mundo cybernetico del  INTERNET y sus BLOGS comienzan a ejecer su influencia. Le instamos a que participe en:

http://goyadiscovery.blogspot.com/2010/08/continua-la-degradacion-y-denigracion.html

http://blog.pucp.edu.pe/index.php?itemid=65692?&pending=1#pending

Another "drop" of indignation or rather a call to public opinion, academic or otherwise, to actively participate with commentaries, opinions, suggestions, advices or critics, etc. The indolent passivity is synonym with complicity and this outrageous and intolerable situation of disparage and disdain for the genial "parallel" work of Francisco de Goya is no longer neither a decent option nor an acceptable one. We encourage you to participate in:
http://vromo.blogspot.com/2010/03/goya-y-los-simbolismos-ocultos.html

"In Goya it seems there are two sacred cows, Mena and Wilson, joint in a monopoly. Ellas son las únicas que pueden dar o quitar la bendición oficial a una obra aunque el resto de expertos diga lo contrario!
They are the only ones who can give or take an official blessing to a work while the other experts say otherwise!
Su criterio es subjetivo, es su "ojo", ¿cómo puede ser el único válido?”, comenta Jose Luis Pascual, quien también tiene serias dudas sobre el papel de las casas internacionales de subastas.
Their view is subjective, is their "eye", why is it the only valid one?" Says Pascual, who also has serious doubts about the role of international auction houses.


Fuentes de Sotheby's España admitieron que aunque "con Mena hay discrepancias", su opinión es muy bien valorada. “Goya necesita ya un catálogo razonado y actualizado”, dijeron.
Sources of Sotheby's Spain Mena admitted that "although there are discrepancies," her opinion is highly valued. "Goya needs an annotated and updated catalog and " they said.


Enlightening and comprehensive article by Spanish investigative journalist Alberto Gayo from famed " Interviu" magazine exposing the "Goya lobby".  Is it all a matter of "dough (money) and business" regardless of true or fake identities of the paintings?  Translation from original (further below) by Google.

Testimonios publicados de expertos caligrafos policiacos certificando hallazgo de firmas ocultas en pintura de Goya
En franca contradiccion con declaracion de Mena, la Prensa Espanola publico:

Extracto diario "El Pais.com" "Esta rehabilitación ha permitido descubrir algunas particularidades pintadas por Goya que hasta ahora pasaban inadvertidas, como por ejemplo la firma Goya en La carga..., con trazo gris oscuro, con una letra "G" mayúscula característica de su grafía escrita sobre el filo de un puñal caído sobre el suelo." Rafael Fraguas.
Articulo original (referencia en el cuarto parrafo):  
http://www.elpais.com/articulo/cultura/viejas/heridas/guerra/Goya/cicatrizan/Prado/elpepucul/20080227elpepicul_1/Tes

What could "they" (read Manuela Mena, Juliette Wilson and cie.) possibly say now? Irrefutable and incontrovertible graphic evidence, found by "them", in their own Prado Museum premises, on one of "their" most precious  Goya paintings, in front of TV cameras!

How on Earth are they going to "explain" this away...?
Editor's note:
Are they perhaps conjuring to say that an unknown stranger illegally violated  "El Prado Museum" security system, surreptitiously removed the original 200 year old tarnished varnish from an iconic Goya's painting that no one even knew  was going to be restored, somehow "magisterially forged" Goya's characteristic calligraphy signature and inserted it on an  inconsequent hidden spot on a small knife and then...magically replaced the very same old and age darkened varnish on top of it? Is it there any other Machiavellian "explanation"...?
 
Or perhaps are they  going to just ignore it, as they have ignored all the existing volume of evidence as well as all the other recognized experts opinions, and continue enjoying and abusing the indolence of the Art World, and more specifically the Spanish People, have inexplicably bestowed upon them until now?
It would be even more shameful than it already is, a blatant mockery, a further ongoing tragedy with a remarkable inclination to a comedy, the joke being played on all of us and Humanity's Patrimony! The Mena-Prado denial farce cannot, must not go on...!
END.

Learn more about this amazing discovery on last page: "More Goya's out there". Last page on Menu


Commentary:
It's a remarkable fact that it was precisely the official restorers team of El Prado Museum, right in its own premises, under strict supervision and during the cleaning of the two famous Goyas paintings who unexpectedly found, or rather discovered, the presence of this Goya's mini-signature cleverly hidden away on the blade of a knife, what gives this event an undisputable extraordinary relevance.

Until now, Manuela Mena Prado's Goya curator had consistently denied, disparaged, criticized, and even tried to ridicule the idea of the existence of such mini-signatures by qualifying this thought in  these, her exact words: "To believe in the micro signatures is madness"-she stressed-. "An authentic madness." (
see complete interview on "investigative articles" page 4). Well, who would have thought that it would be in fact, herself and her own  Prado specialists team who would so blatantly, although unintentionally, prove her wrong!
Prof. Antonio Perales had requested consistently and for many years  that El Prado bring down any Goya painting and subject it to excruciating examinations. Prado always refused to do so.
It has only been by sheer luck or mere casual fate that the ill founded controversy IS NOW OVER!

The implications and repercussions of this finding are mind boggling for the Art Market.
It should send a clear and loud message to all those owners of Goyas and more critically so to the Museums as to verify their precious (or not so precious....) paintings. In a way, the ever amazingly ingenious Goya himself will take care of it!
On the other hand, Goya has become more and more interesting for investors who really want to get what they pay for!

We now have at hand, and for the first time in Art's History a way (beside and in conjunction with the classical analyses and studies),  a foolproof,  verifiable method of finding out whether a painting is a real Goya... or not.

In this editor's opinion, gone are the days of the "divas of the eye technique".
By contrast, Prof.Antonio Perales Martinez has finally been vindicated and this, by his own worst detractors.

The inevitable conclusion? Caveat emptor (Let the buyer beware!)
Suddenly Goya's paintings have become a much more "secure" investment by virtue of their own self contained auto-identification properties.


"I publicly affirm that the market for Goya's art pieces functions as a MAFIA. Wilson and Mena have created a monopoly and imposed a norm in which if  "they" say that a work is not of Goya, regardless of all other experts and historians opinions to the contrary, there simply will  be no way of presenting that art piece to the international level of the Art Market , since the two main international auction houses (Sotheby's and Christie's) that control 90% of the commerce will say it is NOT a Goya!"
Jose Luis Pascual.
  http://blog.pucp.edu.pe/index.php?itemid=65692?&pending=1#pending

                                                             

 
Find here one of a multitude of articles from the hands of many known and respectable experts, scholars, etc. like Pilar Barranco about this mini-signature theme which never losses its actuality as more and more academics, scholars and universal art specialists come to recognize their undeniable existence once confronted with the mounting evidence as modern methods of detection which eliminates any possibility of fallible human perception intrusion, confirm.

http://eldestinomellevaati.blogspot.com/2008/08/el-misterio-de-las-microfirmas-de-goya.html



Modern Technology reveals and confirms true authenticity.
Visite este sitio web de la afamada pintora colombiana Gilda Mora quien, como artista consumada y de intelectualidad inquisitiva  ha tomado un renovado interes en Francisco Jose de Goya y Luciente.  Proximamente tendremos el placer de publicar otro estudio sobre el tema de la compleja genialidad aun no universalmente reconocida del Gran Maestro de la Pintura Espanola y mundial

http://www.gildamora.com/goya.html



"Lot and his daughters". A Francisco de Goya religious there lost for 80 years. Auctioned at Koller Auctions for  $2,904,428.00 or 2.7 milllions of swiss francs.
Este oleo perdido por 80 años fue subastado en Subastas Koller for $2,904,428.00 o 2.7 millones de francos suizos.
Another Goya's youth religious theme also on the block for 4.5 millions.

https://elpais.com/diario/2011/03/11cultura1299798006_850215.html

Ayer, la casa de antigüedades Caylus de Madrid reveló que acude a la TEFAF Maastricht, una feria de antigüedades holandesa, con un Goya bajo el brazo. Que el cuadro representa al apóstol Santiago y la Virgen del Pilar. Y que está en venta por 4,5 millones. El Gobierno de Aragón aseguró ayer que no va a intentar hacerse con la obra. El cuadro, según revelaba ayer 'El País', lleva por título 'El apóstol Santiago y sus discípulos adorando la Virgen del Pilar', mide 107 por 80 centímetros y la sala de antigüedades le ha puesto un precio base de 4,5 millones.
La casa de antiguedades "Caylus" de Madrid revelo que acude a la TEFAF Maastricht, una casa de
antiguedades holandesa, con un desconocido cuadro de la juventud de Goya bajo el brazo. El cuadro representa al "Apostol Santiago y a la Virgen del Pilar" y que esta a la venta por $4.5 millones.
El gobierno de Aragon aseguro que no intentaria hacerse con la obra.
El cuadro segun el periodico de Madrid "El Pais" se titula "El Apostol Santiago y sus discipulos adorando a la Virgen del Pilar". Mide 107 cms por 80 y la casa de antiguedades le ha estimado un precio de base $4.5 millones

Editor's explanatory note: Some returning viewers might have noticed that the former term used to describe one of Francisco Jose de Goya y Luciente's genial ways of self authentication was "micro signatures". This term has somehow wrongly induced the perception that the signatures, rubrics and anagrams could ONLY be seen using a microscope, which is absolutely NOT the case. They are small, diminutive, miniaturized but not at all "microscopic." Semantics must not lead to confusion.

The great Spanish Old Master of Fuendetodos imprinted his works with a wide variety of shapes and sizes of his personal markings, as the reader will find out later on  in the following pages.

Many miniaturized signatures, as well as rubrics, initials, etc . can actually be seen with the naked eye if proper attention to the exquisite details is paid to the zones of the work being examined. Some mini signatures are surprisingly evident once the observer has "searched" for them. Others are less obvious and are camouflaged or imbedded in the composition in the most unexpected places. Of course, the use of a magnifying glass contributes to the detection of the diminutive signatures.

There is also another kind of miniaturized signatures composed by very small "dots" . These dots configure the letters of the word "g-o-y-a ", (see site page Nro. 4) again, in an ample variety of configurations. It is here where the intervention of computerized programs can discern the pattern. These cannot be seen with the naked eye and perfectly fit the term "micro" as indeed they are certainly small but in no case are they "microscopic".  

After careful study of the misleading implications above explained and counting with the total consent and approval of the participants in this Web Site, however accurate the former term "micro signature" was, the clarification is made.


Madrid, 16/02/09 Diario ABC Seccion Cultura por J.G.C. "Guerra de Expertos en Tiempos de Goya"
"Lo cierto es que el Prado y Manuela Mena actuaron de manera torpe y poco transparente, primero convocando una reunión de expertos el 28 de junio pasado, con grandes ausencias y con una agenda secreta..."

Articulo completo por J.G.C.
http://www.abc.es/20090127/cultura-arte/guerra-expertos-tiempos-goya-20090127.html

"El Prado quiere construir una imagen de Goya QUE NO ES REAL!"
Articulo de ABC.es por: M.Moreira (Valencia)
http://www.abc.es:80/20090201/cultura-arte/prado-quiere-construir-imagen-20090201.html


"Aparecen firmas semiocultas, pequeñísimas, repetidas por toda la superficie del lienzo, grabado, dibujo, fresco, litografía, lata, cobre, cristal, tabla, marfil, etc. Goya quien utilizaba pinceles finísimos y plumillas con las que estampa su firma. Esta originalidad pasó inadvertida en tiempos del artista y sólo Moratín conoció los secretos y misterios de la fantasía goyesca. Goya calló y Moratín también, guardando silencio de complicidad por razón de amistad, no dando a conocer el camino que pondría al descubierto rigurosos juicios (especialmente en Los Caprichos) que el artista hacía de los personajes más distinguidos de su tiempo, como la Reina o su valido Godoy." Agustin de la Herran.
El Prado impone 'LEY MORDAZA" prohibiendo entrevistas o comentarios de su personal sobre la descalificacion arbitraria de "El Coloso" emitida por Manuela Mena. Vea articulo ABC en ultima pagina (10) http://www.abc.es/hemeroteca/historico-01-02-2009/abc/Cultura/tormenta-perfecta-en-el-prado_912831748685.html
Francisco Jose de Goya y Lucientes . "The Father of Impressionism". A genial talent whose magnificency is being "rediscovered"!
DaVinci's secret symbolisms in La Gioconda
Hidden letters and numbers in Mona Lisa.
Mona Lisa also known as "La Gioconde" the best known and most studied work of art ever.
Could it be possible that this DaVinci painting tells more than meets the eye?
Is it even thinkable that an imbedded hidden pictorial symbolisms "code" was cryptically used by Leonardo?
And Goya, who also was a master of Symbolism,  as well a genius in his own right, detected, understood and kept it alive centuries later in his own paintings? 
Both men lived in very obscure times when their personal feelings, beliefs or opinions IF in contradiction with the prevailing religious or civil authorities could invite serious harm. Go ask Galileo Galilei or better still....Giordano Bruno!
Or what that Inquisition tenebrous father named Torquemada or many others like him existing in Goya's times would say and do about it!
The cryptic backwards almost illegible writing technique that DaVinci used to keep the privacy of his advanced thoughts,experiments and inventions must have had a reason why....
Yet, what IF their supreme  skillful art provides them with a way, perhaps, to really express themselves in quite an ingenious secretive manner, just known to very few. Much in the way of the Mason's  secret communication and Lodges identification techniques. By the way, both men were believed to be masons according to some historians.
If this is not the case, but nevertheless curiously strange configurations were indeed to be located in this painting, would the "random configuration coincidence" hypothesis that in such a feeble way pretends to begin to explain the multitude of these symbolisms in Goya's paintings also apply in this supreme masterpiece of the supreme Old Master of all times?

NOTA DE DOLOR: Lamentamos profundamente informar a todos los admiradores del gran genio de Goya la perdida fisica de Don Antonio Perales Martinez. El desaparecido Profesor Perales sera debidamente reconocido como el defensor de la obra inedita del gran genio Aragones.