Eugenio Lucas Velazquez (1817-1870) Spanish. The most famous and capable of Goya's copiers is believed to have made more than 700 fake Goyas.
                                        Detecting fakes among masterpieces.
Even though the following article mainly deals  with another great Old Master, the Dutch Vincent Van Gogh, it certainly remains of special interest. In this 21st Century it is more than ever before evident that the increasing and inevitable use of modern technology has taken its rightful place in discerning the true from the fake.
It's important role as an indispensable tool, rather than a replacement, is helping the experts and specialists to either conclusively confirm or deny their findings about  any masterpiece and in doing so eliminate the second guessing that has so often  plagued works of art.
Please click this link:

Fake Goya falsely attributed to Goya by Juliet Wilson Barreau
Another blunder by Juliet Wilson Barreau. This painting IS NOT A GOYA, she nevertheless authenticated it as one. CLICK ON PHOTO FOR DETAILS.
Eugenio Lucas Velazquez (1817-1870 Spanish)  was one of the most prolific copiers of their time, also been called faker, most principally of Goya. Of note, his Maja vestida, d'après Goya.

He is as well believed to be the likely hand to "City on a Rock" which was until 1970 wrongly attributed to Goya and even appeared on the "GOYA's Catalogue Raisonne" of Mrs. Juliet Wilson Barreau on page 265, figure 955 and was exhibited as such at the New York Metropolitan Museum of Art, which constitutes another solid evidence of the frequent shortcomings of the "eye technique".

It is also known that he painted at least two copies of Goya's "Majas on a Balcony".  It's been affirmed that he also had over 700 "Goya's" oil works of his own making. OF COURSE, NONE OF THEM EXHIBIT GOYA'S HIDDEN MINI-SIGNATURES. That's how you detect them!

Editor's commentary:
Many other copiers and fakes of the epoch surely did their deeds usurping the prestige and fame of the real Spanish Old Master, to say the least his own helpers and disciples, Julia, Esteve (the most gifted..) perhaps even his own son Xavier, too.
This, in itself, had to be reason enough for Goya to profusely identify his original works with his self authenticating hidden "trade marks embedments" being aware of all the copying and faking going on all around him.
Now, it baffles rationality to think why all the world's museums, private collectors, dealers and art galleries, etc, that own "Goyas" wouldn't want to verify, in a conclusive and definitive manner, the authenticity of their Goyas.
Just imagine how many of these fakes and or copies are now just being exhibited, or sold for millions of dollars, as the original work of the Spanish Old Master!
And, by the same token, think of how many original and authentic Goyas are being ignored and ostracized all the while it already exists a conclusive and definitive, patented and copy right , method of detecting and thus discriminating originals from fake or copied Goyas.

The conjunction of both methods, the traditional one coupled with the technical/scientific one plus a detailed X's rays examination, excruciating macro and micro scrutiny  of multiple zones of the painting in question as well as the computerized enhancement, O.C.R. ,the identification and exposure of the hidden graphisms so typical of the originality of Goya is the only solution to the dilemma.
Or... are we all so credulous and gullible to simply blindly keep trusting someone's "eye"...especially when so many blunders, mistakes and self contradictions taint the already weak and damaged credibility of these persons?
End of commentary.

Click on this specialized web site for more detailed information:

Fake Goya revealed by modern technology where the "eye technique" was useless.
A Goya fake detected by modern technology
Portrait of a Woman, 18th-19th centuries. Oil on canvas, 62.23 cm. x 48.26 cm. Fogg Art Museum, Bequest of Grenville L. Winthrop, 1943. This portrait of Maria Isabella de Bourbon, infanta of Spain (1741-1763), thought to be painted by Goya was bequeathed to the Fogg Art Museum in 1943. Although the canvas was old, and the paint bore the crackle marks of age, several scholars came to doubt the painting’s authenticity. In 1954, X-ray images were taken of the painting and conservators were surprised to find an earlier portrait of a different woman beneath the surface. X-ray diffraction analysis revealed the presence of zinc white paint, which was invented after Goya's death. Thorough cleaning of the painting confirmed that the surface paint was relatively modern and had been applied so as not to obscure the craquelure of the original. Curators also discovered extensive damage to the base portrait; leading some to speculate that the forger attempted to scrape off the earlier face. Upon completing the analysis, the conservators left the work as you see it above (with portions of the original painting visable, on the left, and the newer forgery on the right), to illustrate the intricacies of art forgery, and the inherent difficulty of detecting it. (It is thought that the base painting is a provincial Spanish work dating to the 1790s). CLICK ON PHOTO FOR COMPLETE ARTICLE.
Policías y calígrafos buscan firmas escondidas en los lienzos del pintor aragonés, agentes de la ley entran en las casas de subastas a la caza de fraudes, cuadros dudosos son vendidos por millones de euros tras colgarse en el Prado...
Articulo completo e ilustrativo presentando imagen presente de la disyuntiva sobre la obra de Goya. Existe un "lobby" financiero sobre la "seleccion discriminada" de que es un Goya o no? La colucion del dinero y la corrupcion en el proceso de ratificacion de autoria por la ya considerablemente desprestiada curadora de Goya en el Prado , Manuela Mena quien rehuso entrevista por este periodista.

Manuela Mena descalifica y niega la autoria de Francisco de Goya del "El Coloso" en rueda de prensa televisada que desencadena indignada serie de protestas, desacuerdos y francas criticas de multiples expertos

Sin embargo, Mena no siempre pensó así. El director honorario del Prado José Manuel Pita Andrade, uno de los criticos con las nuevas teorias, remite a los textos de Mena sobre "El Coloso" en el catálogo de la exposición "Goya y el espíritu de la ilustración "(1988). En ellos la conservadora no mostraba dudas algunas en la atribución de este cuadro!

Las cualidades de ayer...

"Es ésta una de las imágenes más dramáticas, más poéticas y misteriosas de todas las obras del período de madurez de Goya", comenzaba Mena su artículo. Más adelante, se rendía ante las cualidades de esta pieza. "En cualquier caso, el lienzo es admirable por la extraordinaria seguridad de su toque, a golpes de espátula o de pincel, rápidos y nerviosos, de una precisión y energía singulares".

Hace unos días, sin embargo, Mena aseguraba en rueda de prensa que el uso de espátula era incompatible con el proceder del genio sordo y repasó todos los detalles a su juicio mal perfilados y sin definir de la imagen
"No se pueden utilizar las mismas características para apoyar la autoría -protesta Pita Andrade- que para rebatirla".
Articulo de

Prado impone censura
"Tormenta perfecta" en El Prado.
Imponen  en el Museo del Prado "LEY MORDAZA'" prohibiendo declaraciones sobre la tristemente generalizada controversia provocada por las contradictorias aseveraciones de Manuela Mena sobre la autoria de "El Coloso" en franca discrepancia con multiples expertos e historiadores.
Ver articulo publicado en el ABC seccion Portada en 01/02/09

Un estudio de Jesusa Vega vuelve a atribuir "El coloso" a Francisco de Goya. Article published by "El Heraldo de Aragon on 24/09/2008. A never ending story, "El Coloso" has been "reattributed" to Goya by eminent INDEPENDENT Spanish scholar Jesusa Vega.

Coloso in previous recognized Goya sketch
Same character. Goya's known sketch of personage in "El Coloso painting" Click on image for original article.
More critical articles contradicting both Mena and Barreau and supported by many diverse members of Spanish intelligentsia, academics, scholars, historians, art connaisseurs, etc. Click on:

Glendinning affirms it's authenticity, Mena denies it...why?
"Colossus" A Goya masterpiece or simply the work of a helper? After more than 7 decades (since 1930) of public admiration, it is being now denied by Manuela Mena.Click on photo for original article.
"Something is going on with Goya." Translated Article
New Web site (in Spanish language) dealing with the ever increasing public outrage from Spanish citizens against El Prado authentication blunders by its "infallible supreme eye expert" Mrs.Manuela Mena.
Click here:
or,  this other link for a very interesting article on "The new Goyas":
Don't miss either this other link below concerning the blunders, gaffes and mistakes of Goya's main two "Inquisitresses"  Mena and Barreau.

The following link from "El Heraldo de Aragon" presents another reputable Spanish scholar re-attibuting "El Coloso" a Goya:
This is the exact same painting "El Coloso" (The Colossus)" of which follows an exact and verbatim extract, among many other praises, that were then officially stated by Manuela Mena, Prado's  "eye technique expert", and proudly published by the very same Prado's (Guía del Prado Edición Madrid Cultural 1992, editorial Sílex, page 14) about it :

"The Colossus is one of the most dramatic, most poetic and mysterious images from Goya's whole mature period. Its pictorial beauty, its enigmatic strength..., lend this painting and extraordinary appeal. The canvas is admirable by the assuredness of its touch.., of a singular precision and energy."

Now, blatantly contradicting herself, Manuela Mena isn't able or capable to even guarantee that this painting, under her and Prado's custody, and in exhibition for decades is or is not an authentic Goya!
Her present disparaging, negative critics, and diminishing remarks targeting the very same painting she so proudly praised just some time ago makes us wonder...How can she and her  archaic "eye technique" method  be trusted at all!
Find opposing opinion of scholar Nigel Glendinning, a British Goya academic expert in this a article of Spanish Newspaper "El Pais":

The lingering doubts that had also been raised about "Las Pinturas Negras" insofar as whether, according to Jose Junquera, the second floor of La Quinta del Sordo where they were retrieved from even existed at the time Goya's death in April 16th.1828,  have also been put to rest by Nigel Glendinning, who kindly contacted us about the subject, in his work 'Las Pinturas Negras de Goya y la Quinta del Sordo. Precisiones sobre las teorías de Juan José Junquera', Revista Archivo Español de Arte, Nº 307, ISSN 0004-0428 Madrid, 2006, pp 233-246.

We thank Mr.Glendinning  for his courtesy and his defining contribution in this further identification of the genial Aragonese painter Francisco Jose de Goya y Lucientes art work legacy. 
See original controversial article here:

By the way, a controversy of the many surrounding her that she was NOT able to clarify. If these kind of defining expertises and findings are often obtained or explained by  sources outside of El Prado and Mrs. Mena domain, the more the reason to finnaly have a Goya Commission or group of experts and analysts. As academic Don Arturo Ansón, Professor de Historia del Arte en la Universidad de Zaragoza wisely stated in a recently published interview: "..when in doubt, why not summon a task force...eight eyes see much better than just two...!"

The initials of Asensio Julia or simply the remains of an inventary number?Hasta el momento se había considerado que los dos misteriosos caracteres representaban un número 17, pero ahora se supone que son las letras AJ escritas con la caligrafía de la época.
En un círculo rojo, zona del lienzo donde se hallan las iniciales A J que, se supone, corresponden al pintor valenciano Asensio Juliá. Hasta el momento se había considerado que los dos misteriosos caracteres representaban un número 17, pero ahora se supone que son las letras AJ escritas con la caligrafía de la época. ---------- In a red circle, zone of the canvas where are the initials “A” “J” that were assumed to correspond to Valencian painter Asensio Juliá. Until the moment it had been considered that both mysterious characters represented a number 17, written with the handwriting of the time.
Click HERE for original TVE transmission program
Restoration and cleaning conducted at El Prado Museum
Articulo de El Pais, seccion Cultura, Febrero 28, 2008.-Verbatim "Esta rehabilitación ha permitido descubrir algunas particularidades pintadas por Goya que hasta ahora pasaban inadvertidas, como por ejemplo la mini-firma “Goya” en “La carga de los Mamelucos”, con trazo gris oscuro, con una letra "G" mayúscula característica de su grafía escrita sobre el filo de un puñal caído sobre el suelo." Pulse sobre imagen para articulo original en el diario "El Pais" de Madrid. Photo Bernardo Perez. --------------------- “This rehabilitation has allowed to discover some particularities painted by Goya that until now had gone inadvertently, like for example the mini-signature "Goya" in the load of the “Carga de los Mamelucos", with a dark gray outline, a capital letter "G" characteristic of its handwriting written on the edge of a dagger fallen on the ground. Click over image for original article in "El Pais" A Madrid newspaper. Photo:Bernardo Perez
Prado restorer Mora pointing details
Prado restorer Mora showing details on TV news broadcast.
Undisclose details being pointed out by Manuela Mena at TVE program
Manuela Mena present at the TVE mini signatures newscast.
Photo session at El Prado
Prado restorers team taking photos of unveiled Goya's secrets.
Expert restorer explaining on TV world newscast the amazing findings
Minifirma de Goya hallada en el mismisimo Prado por el propio equipo restaurador de Manuela Mena.
Editors 'note: 
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 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 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!

We now have at hand, and for the first time in Arts history a way (beside and in conjunction with the classical analyses and studies),  a 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 worse 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.
End of commentary.

Find more information here:  

Prado's Manuela Mena has being inmersed in conspicuous silence about this particular subject since been publicly proved wrong by this devastating irrefutable evidence.
The recently legally ratified as an indubitable Goya's painting following a very public judicial proceeding is now for sale with a clean slate and an irrefutable authentication by Arnaiz, Prof. Antonio Perales and Prof. Parra Crego. It's value has been estimated in two to three million Euros.
Two Great Old Masters and the secret symbolisms, is there a parallelism between Leonardo DaVinci and Francisco Goya?

Cleared Goya painting declared as of "indubitable authenticity" is back in the art market after judge ordered restitution.
Heraldo de Aragon, Noviembre 29, 2007. Click on image for complete original Spanish Press article.
"Computers are useless...they can only give you answers!" Pablo Picasso
Commentary courtesy of E.Weems, webmaster of "Goya" a specialized site you can find here:

The United States based television channel "The Discovery Channel" broadcast a program titled "Da Vinci's Lost Code" on December 17, 2007, which discussed the use of science to investigate the presence of symbolisms and hidden artifacts within a painting in order to authenticate authorship. Writer Patrick Kiger writes about this programs subject at the Discovery Channel site (here).Article has four pages:

"While digital analysis of artwork has not yet gained wide acceptance in the art world, it could be the wave of the future. But even now, science already plays a major role in differentiating frauds and copies from genuine masterpieces. As McCrone once put it, whether a scientific authenticator judged a painting to be genuine or a fraud, the expert "can be more confident in that belief than anyone who lacks objective scientific evidence."

The role of experts that use measurable scientific methods to investigate a painting's authenticity has been controversial, particularly in the case of Goya for example, see the articles on Professor Perales and the issues arising from the recent court proceedings over Goya's "Saints Adoring the Holy Sacrament."  The role of the "eye" trained expert who can distinguish authorship of style by merely looking at a painting, along with scholarly research for provenance and records of a painting's historical existence, are beginning to merge with that of the trained lab technician.
This is changing the industry of art sales and auctions, as paintings once dismissed as fakes are given new chances to prove their authenticity; likewise, paintings long certified can now be called into question upon grounds having to do with something other than a preponderance of majority opinion. How peaceful this merging will be is yet to be decided.

End of commentary. by E. Weems.

Is the Mona Lisa still holding unveiled secrets?
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 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?

The oleo painting "Santos Adorando Sagrado Sacramento" will be the object of an especial auction. HERALDO of Madrid November 29th, 2007, Cultura.

The oil painting "Saints Worshiping the Holy Sacrament," which  several experts (including Prof.Antonio Perales Martinez) had attributed to Goya, and that could not be auctioned in December of last year because it was seized by police for doubts about its authorship, still is for sale, although not through an auction hall. This was confirmed yesterday by its owner, Jose Luis Pascual, whom the work was returned to in November after the case opened by a court in Madrid was dismissed for not having found evidence of any crime.
The owner explained that, in addition to the three reports accompanying in its day the painting, it now has an iconographic study prepared by Jose Maria Sanchez Molledo, Doctor of History and Secretary of the Royal Congregation of San Isidro, which confirms the (verbatim) "indubitable authenticity" of Goya's authorship, according to Pascual, and from which it deducts the painting dates back between 1775 and 1780, being one of the first assignments  received by the Aragonese painter in Madrid.

The auction of the painting, "openly and directly," will be done through a law firm and the office of an attorney from Madrid, over December and January, in a procedure that Pascual will explain in the coming days through various newspaper ads.
Original "Heraldo" article in following link:

Resignation of Pilar Barraca. The high Patrimonio Nacional official involved in the infamous case of an illegally intervened and defamed Goya painting.
"The Ministry of Culture removes almost in its entirety the Junta de Valorizacion del Patrimonio Nacional. The changes are made weeks after the dissmissal of a case involving the attempt auctioning of a painting which attibution to Goya was questioned by it. Click on image for complete Heraldo's article.
Click on image to access original "El Heraldo" article.The outgoing members of the Junta del Patrimonio Nacional. Published in "Revista Subastas Siglo XXI" No. 88, November 2007. At the extreme right,Mrs. Pilar Baraca, whose controverted and contradictory testimony at the trial resulted in a "per se" condemming verdict against the defamers of the authenticity of the Goya painting disesteeming all claims of fraud and false authenticity. Legal suits and ensuing litigation in the Spanish Courts are being prepared by the affected parties.
Cleared Goya painting ordered by Spanish magistrate to be restituted to owners. Legal suits to follow.
Articulo ""Heraldo de Aragon" Seccion Galeria, Jueves 20 de 2007
Spanish Judge dictates order for immediate restitution to its rightful owner of the Goya painting "Santos Adorando Sagrado Sacramento"
Following the conclusion of a recent exonerating trial an  article  appeared published in "El Heraldo" de Aragon on September 20, 2007.After several months of the controversial judicial procedures, the painting attributed to the Spanish Old Master Francisco Jose de Goya y Lucientes by expertise and examinations made by Dr.Juan Arnais, Professor Antonio Perales Martinez and scientific testing done by Dr.Entique Parra Crego  of Largo Laboratories specialized in pigments comparisons, identification of original canvas threads and spectrography analysis among other tests.
No evidence of fraud, presence of malice or any other wrongdoing was found in such legal procedures. The affected parties are presently preparing to file numerous legal suits for defamatory and prejudicial damages brought upon them by the unscrupulous and baseless accusations.
It is becoming more and more evident that the era of reckless disregard against legitime art owners and their precious paintings, victims of shady and obscure manipulations in the "monopoly" of the Goya artwork by the merchants and oppressive Goya's "un-crowned royalty", is coming to an inevitable end.

Decreto Judicial ordenando la inmediata devolucion a sus legitimos propietarios tras reivindicador proceso legal.
Are Goya's Black Paintings in question?
Hombres leyendo
Viejos comiendo
Fear of questioning one of the myths of Spanish painting has hidden the absence of evidence that the works are the genius of Fuendetodos, according to a book published in London.

Original online article, click following link:

Are the "Black Paintings" from La Quinta del Sordo now in the Prado Museum works by Goya?
Until now it had been accepted unanimously. However, recent research conducted by Professor of Art History at the Universidad Complutense, Juan Jose Junquera, allow you to sustain serious doubts about the authorship. According to Junquera, who is about to publish in the UK a book on the subject, "The Black Paintings" were not painted by Francisco de Goya, but rather by his son Javier. If this hypothesis proves right, the Spanish art world would be immersed in a real earthquake, given the importance that this package have within the artistic works of the Aragonese
The magazine "Discovering the Arts" offers in this issue, exclusively, the main conclusions reached by the teacher. His article demonstrates how all along history have  many researchers had been misled by erroneous readings of documents and he argues that the "Black Paintings" were boosted after a skilful "marketing" operation on the part of the  painter's grandson.  During Goya's life no references to the "Black Paintings" ever existed. The very first story about them is existing forty years after the death of the artist, on the other hand, the "Quinta del Sordo" (The Deaf's Farm) had only one level floor, while some of the later paintings are of a second floor or second story.

The main text is supplemented with an article by Barbara Rose, who bets for and encourages the creation of a "Goya Commission ," in imitation, for example, to the "Rembrandt Commission" in order to study, analyze and definitively clean up  and once since for ever the works of the  Aragonese painter, given the amount of rumors,  murmuring and questionings about the authenticity of a significant number of his works. End of article.

Note of Editor: On this subject, please refer to top of this page as Nigel Glendinning has cleared up any remaining doubts about the authenticity of theseGoya's creations.Translations not verbatim.

Two paintings previously doubted by Prado's curator are genuine Goyas.
La Sagrada Familia By Goya. Click on photo for original article
Angel Tobias by Francisco Goya.Click on photo for original BBC article.

Two more Goya paintings which authenticity had previously either been  denied, questioned, or kept undisclosed by Prado's curator Manuela Mena (in addition to the already infamous cases of "El Colossus" and "The Milkmaid of Bordeaux") have been reivindicated.
In these two cases of the exquisite religious theme paintings by the Spanish Great Old  Master and due to some unusual rationality by the Prado's director, such "derogative opinions" were overruled in a  "rare" posture of the Spanish pinoteque.
These masterpieces are, since, being exhibited at the famed Spanish Museum  probably much to the regret and embarrassment of the "infallible" Goya inquisiteuse. Please, click on the photos to see original article published on the B.B.C. web page.
We are only left to wonder, how many more Goya's works have also been ostracized by the evidently inaccurate  and flawed method which is uniquely of the particular and exclusive domain of the temperamental and obviously "pasee" Mrs. Mena?

El afamado restaurador malagueno Paulino Giménez atribuye y presenta al publico el cuadro del genial pintor Aragones titulado "Levantamiento popular", el cual anteriormente presentaba una falsa firma de Sorolla. Estudios de pigmentos, radiográficos y variados otros avalan la aseveracion, dejando segun resultado de dichas multiples investigaciones: "ningún margen de error o duda", que la pintura "ha sido ejecutada por Francisco de Goya".

Cliquear en foto para articulo original en Espanol online de "La Opinion de Malaga", Seccion Cultura en Luces de Malaga. del Viernes 26 de junio de 2009.   Or for the English translation by Google click:
Visite ultima pagina "More Goyas out there? Blog ilustrativo de la presente tragica situacion sobre la verdadera autoria de Goya.