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World auction houses and museums expectancy grow as it has taken more than THREE months for Spanish Courts to yet reach a verdict. Numerous enquiries reach this site's mail center.
Is there a disguised Goya signature in this famous unquestionable Goya portrait?
Portrait of Infante "Don Luis Maria de Borbon y Vallabriga" Click on image for article.
This week, the painting of a cherubic-looking six-year-old member of the Spanish royal family, the Infante Don Luis Maria, was displayed to the world for the first time since Francisco de Goya put paintbrush to canvas in 1783. Only a handful of experts and members of a family of Spanish grandees who descend from Luis' heirs had set eyes on the portrait. "It has never been loaned to any exhibition and has remained in the family's hands ever since," said a spokesman for Spain's Foundation Plaza, which has bought the picture, unveiled at Madrid's Prado museum, for 10 million Euros  ($16.76 US millions).

Now, observe attentively the designs in the background "map".
Refer to the multiples shapes and configurations of the four letters G-O-Y-A as listed in page 6 ("Prestigious Validation" also partially shown below
Another "random configuration? Why do these "random configurations", quite coincidentally enough, always artistically spell convoluted, contoured shapes of the characters composing  "G-O-Y-A and NO combination of any other 4 letter word?
  Or, is this just imagination playing yet another trick? IF some expect to "read" big, bold, clearly printed letters...they won't find them. Goya's genius allowed him to adapt, shape, sculpt and configure those four letters of his name in a myriad of ways , blending and imbedding those four characters into the themes and thus becoming part of them!

Samples of versions of GOYA rubrics
Samples of versions of GOYA rubrics as catalogued by Dr.J.I. de la Vega in his book: "GOYA". Click on image for page link
G-O-Y-A graphism."Y" lower than "G" and "A"
Infante Luis Maria de Borbon y Vallabriga, by Goya. Click on image for item article
Please carefully examine the configuration of what's supposed to be some geographical contours, but... can't you perceive the initial "G", followed by a much smaller "o" connected to a downwards overly embellished goyaesque letter "y" which on its right top trace end has a perceptible "a", in cursive, notice the detail of the ending tail trace of it.

The "G" ,"o" and "y" are shown descending downwards and inclined slightly to the right, the "a" comes back up, contacting the right upper tip of "y" which is the letter in the lowest  plane conforming this graphism.  This "GOYA" graphism is contorted into a somewhat irregular inverted general triangular shape.

Following an extract from the book : "The Goya Enigma" 

Page 22: Second paragraph.- "Almost most of the canvas is imbedded with inscriptions, that must be very interesting given the circumstance, such as those in his paintings. Inscriptions that are just about to be read, but one cannot read them altogether. Goya does not allow them to be read, he rather expects them,  one day, to be read. To that purpose he employs the method, instruments, occasion and necessary field; a single hair brush, a pin, for  cleaved engraving or relief, or, in a natural manner with a normal brush, only to later paint, stain over it, imbed them taking advantage of those zones in which the inscriptions or legends adapt themselves to the drawing or its forms, and embodying these to configure hidden images. It is so, that in this painting the clothing area has numerous indications of the imbedding...." (refers to another Goya painting studied in the book.)

Page 22, third paragraph: "Of the four letters of the word "G-O-Y-A", the author possesses an  insurmountable mastery, by using  them he is capable of transform them into an adornment, a mouth, a nose, an eye, a spot or a line adapting itself (broken, separated, splashed or deformed,) in any motivation. It is like this  in the hair above the forefront of this woman, on top of her hairdo that has already correctly been painted, that he engraves the word "Goya" in big characters and in dark black..." (refers to another Goya painting studied in the book.)

The whole graphism ensemble is cleverly masqueraded as a land configuration on the map. IF this painting were to be subjected to a computerized O.C.R. test, the graphism would stand out.  Or, perhaps this is, after all, like all the other tens of graphisms in scores of Goya's paintings, just an optical illusion... 

Editor's commentary:
Why wouldn't "El Prado", which now has the painting in question being restored at their facilities, not take the opportunity to examine it by all SCIENTIFIC methods in conjunction with a neutral comission of professionals (in much the same manner Prof.Perales has repeatedly challenged the Prado to do...) and see whether there are, or not, present in this painting any of the purported Goya "trademarks" of self all? 
But, then again, why would they? Good question...

Confrontation between experts from inside as well as outside El Prado because of Goya's microsignatures. Spanish press echoes the tug of war.

Oleo "Santos Adorando Sagrado Sacramento"Óleo sobre lienzo. Medidas: 57 x 70 cm.
"Santos adorando Sagrados Sacramentos". An earlier Goya. Click on image for complete article in Spanish
A very comprehensive article in an important Spanish Internet Site online  specialized in Arts and Culture  written by Madrid art columnist  Maria de Jesus Burgeno, where the whole intertwined "battle of the mini-signatures..." is being fought in Spanish Courts as well as in the public eye.  Links within the online article complement the exposition.

The veil of secrecy and impunity of denials of authenticity that were indiscriminately and summarily dealt by Prado's Manuela  Mena by means of what amounted to be nothing more than a standard , run of the mill  "form letter" where only the name of the painting in question and the addressee were changed.

Unknown number of pieces from  Goya were disavowed, reputations were damaged, the very livelihood of Goya owners was affected, and this, with no recourse or right to demand a revision of all the documentation, tests, analyses, etc. obtained and certified by not one, but several renowned specialists and technicians. (Click on image for details)

Fortunately, it is apparent that the irrational, stubborn, and outdated "monarchic" way of dismissing Goya's paintings authenticity is soon about to be  over...or the Spanish Courts are going to be overwhelmed...! Mrs. Mena, the "genie" is out of the bottle!

Regretfully, by reasons of space it is impossible to translate this most interesting
 article. Nevertheless, you can find a Google Engine translation (not 100% accurate though) at: