Some examples of the word "GOYA" skillfully contoured by the Old Master of Fuendetodos. Author Dr. J.I. de la Vega's book shows the following compilation.
Front cover of "GOYA" a two volume book from author and Goya specialist, Juan Ignacio de la Vega. Click on the picture for Web link

A "must have" book for all the inquiring, boundless minds intended upon finding out historical facts, personal details, professional insights, inner thoughts of Goya as well as a detailed exposition of a catalogue of all of Goya's rubrics, signatures (miniaturized or otherwise...) initials, and any other goyaesque inscription, shown in all of their variations, all the subjects related to the magistral genius of Francisco Jose de Goya y Lucientes.

Dr.Juan Ignacio de la Vega Aguilar has accomplished with this two volumes book  the showing in-depth and with an extensive, yet detailed and chronological sequence, of every aspect of the Goya mystique. The first book comprises most of Goyas letters, with a scholar analysis that gives the reader an "insider" feeling, as well as a compendium of articles, writings, letters, etc. appeared in Spain's different media, all views  exposed, the book shows a remarkable "check and balance".

The illustrations leave you speechless, you can actually see the results of the "Roure" computerized method or Optical Character Recognition whereas the hidden microsignatures and other artistically contorted rubrics are indisputably shown without the sometimes misleading or equivocal "human appreciation"  factor intruding. It's clear, no buts or ifs, they are there...you actually see them, over and over again, if they could speak they would "sound" loud and clear! In each and every of the studied paintings, the repetition of imbeded graphisms is shown in several areas of the painting, central figures, as well as entourage and background.

Again Dr. J.I.de la Vega Aguilar has no relationship, professional or otherwise, with Prof.Antonio Perales. This revealing book of his therefore constitutes an independent, alternative, scientific corroboration of the factual existence of microsignatures, inscripted graphisms, etc, in the work of Francisco de Goya y Lucientes. There already exists quite a group of other writers, historians, analysts, art professionals connoisseurs who have embraced, by reason of it's validity, this irrefutable reality in Goya's works. Their names and body of work will be published in this site.

Main drawback: IT IS ONLY AVAILABLE  IN SPANISH, it is presently in the process of translation .
Click linK: http://www.eupmt.upc.edu/goya/pagina1.htm


Some examples of Goya's microsignatures detected by the Optical Character Recognition (O.C.R.) method
Inedit Virgin (Painting untouched)
Some results of O.C.R. analysis. Actual report contains many more findings.
"La Ascension". A frequent religious theme by Goya.
Electronically highlighted hidden microsignatures found inscripted in inconspicuous areas of the painting.
Portrait of an aristocratic gentleman. The painting has been analized untouched, unrestored.
Multiple microsignatures were found distributed in various places of this portrait.These are only a sample of the total findings.
More bibliographic references of Goya's hidden techniques of identification in "The Enigma of Goya"
"The Enigma of GOYA", a book by Manuel Ayllon (Madrid 1952) Editorial Styria. Click on image for link. Renown professional and prestigious Spanish writer.

A prestigious writer, besides being  one of Spain's most prestigious architects is also a known collaborator of various media, written as well as radio and television, who has published several noted books and essays, among others: "The approach to the real art", "I, Fernando de Aragon, unique King of the Spains", "From the Escorial to Banesto", etc.

In this book: "The Enigma of Goya" he presents to the reader in a novel style, in pages 288, 289 and 290  several passages mentioning the presence of miniature  letters "G" of "Goya" in the eye pupils of a painting he was doing in the presence of  both the Spanish sculptor Jose Gines as well of his habitual helper Ascensio Julia.

Further into the reading he describes other Goya's particular techniques such as the insertion of miniature signatures with the intention of facilitating a future identification of his works.


Professor Paolo Erasmo Mangiante, a Goya scholar and famed writer also shares light on Goya's amazing uniqueness. The genial Spanish Old Master's personalized "trade marks" in yet unrecognized or misattributed works of his.
Interview of Monsieur Didier Pouech, France's former General Secretary of the "International Organization of Art Experts" for the french journal "LIBERATION"

Question: What do you think of your colleague's findings? (Refering to the discovery of the micro signatures in Goya's paintings.) 

Answer:  D.P. "My first reaction, like that one of any other expert, has been to doubt....but with all the evidences that he contributed I inmediately realized that he was right. On the other hand, further going into reviewing the artist's biography and his mentality, it is confirmable that we are dealing with a fact that perfectly fits in such a context. "My position, therefore is a categorical one, I adhere to the conclusions of Dr. Rolph Medgessy."

Question: How do you explain this not been discovered before?

Answer: D.P. " We must not forget that still, even  today, there are very few experts that practise the "exhaustive" expertise.  On top of that, many of those ones that have a bigger "reputation" are NOT real experts, but art historians who have written about an artist or have compiled a catalogue raisonne. These are scholars that know very well this or that piece or work, but they have always  worked on a superficial structure.  They authenticate the works solely on their provenance, which is to say, by the collection they belong to, or used to. It is rather well known than in these cases the "expertise" properly done is inexistent, or at the very best,  done in a superficial manner.  They make a speech about the History Of Art and, for instance, about letters or testimonials of a royalty ordered work that allows the painting to be identified and from there on, they just follow the tracks in the eventual transferrings from one collection to another."

"Starting from the point where a painting appears in a prestigious collection and it is affirmed that it is a Velazquez, a Rembrandt, a Tician, no one is the wiser...  nobody has any doubt, thefore, no questions asked.... "

"We have a typical example with the "Crozat Collection"* (see note) a very important collection of the XVIII Century which was acquired in block (entirely) for "The Ermitage" by Catalina II mainly because it was the "Crozat Collection" without even entertaining the possibility that it might contain fake paintings. Nevertheless, it is very possible that in the collection, given the fact that they were paintings of all schools,  Crozat might have acquired "falsifications" made by Goya..." 

 Editor's note: More on this particular subject of "falsifications" made by Goya in the following pages. See Page 7. ("More evidence ")                                  

*Note: (CROZAT, PIERRE (1661-1740), French art collector, was born at Toulouse, one of a family who were prominent French financiers and collectors. He became treasurer to the king in Paris, and gradually acquired a magnificent collection of pictures and objets dart. Between 1729 and 1742 a finely illustrated work was published in two volumes, known as the Cabinet Crozat, including the finest pictures in French collections. Most of his own treasures descended to his nephews, Louis Francois (d. 1750), Joseph Antoine (d. 1750), and Louis Antoine (d. 1770), and were augmented by them, being dispersed after their deaths; the collection of Louis Antoine Crozat went to St Petersburg, Russia.

"Something similar may have occurred in museums like the Louvre, Metropolitan, and others. It would also be in the realm of possibilities that these museums, having the good laboratories that they DO have, would already have  discovered them, but that they dare not throw this BOMB!"

Why not ask them DIRECTLY ...WHY NOT? museo.nacional@prado.mcu.es

Note: Excerpt of interview taken from "GOYA" by: J.I. De la Vega.Translation from Spanish language non verbatim.


"Hidden mysteries in Goya's paintings". A book by: Manuel Real Alarcon. (Excerpts)

Manuel Real Alarcon is a known Spanish writer born in Cuenca, Spain, presently living in Valencia. Among many other merits, the following are just a few that stand out.

  • Member of the "Real Academia de Bellas Artes ", of San Carlos de Valencia.
  • Member of the "Academia de Artes y Letras", of Cuenca.
  • Belongs to the "Junta Directiva del Circulo de Bellas Artes", of Valencia.
  • President of the "Association of Painters and Sculptors of Actual Art" of Valencia.
  • Awarded with "Medalla al Merito Artistico" (Medal for Artistic Accomplishment.)

The following are excerpts from his published book "Misterios Ocultos de la Pintura de Goya" (Hidden mysteries of Goya's Paintings). They constitute, all by themselves, corroboration and support of the existence of Goya's amazing parallel talent creating a misterious, intricate cryptic system of "self validation", undiscovered for more than two centuries.

Introduction: "...What this work is going to be all about, is the exposition of the misteries that are either scarcely known or not known at all in the paintings of Goya...

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...."

Page 22, third paragraph:"Of the four letters of the word "GOYA", the author posseses 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..."

These excerpts constitute just a very small fraction of Mr.Real Alarcon's book, which we would like to suggest reading. Needless be to say that he has no professional or otherwise relationship with Prof. Antonio Perales. Other controversial themes,  such as wrong attributions, also  refered to as "misattributions" are also the subject of study and exposure in this book.


Document
Goya y el Escandalo. Mini-firmas de Goya en obras famosas de otros grandes pintores. Fue Goya un genio aun mayor de lo que imaginabamos?
These independent technical, scientific as well as scholar studies corroborate what Professor Perales has long been advocating.
Logo of the "Veritus A.G." Digital authentication systems.

Could ostracism and an incomprehensible stubborn denial of a totally verifiable reality such as the presence of diminutive signatures, initials, rubrics, etc., that can be, and actually are, found by sophisticated methods of computerized programs, win over the XXI Century wisdom? Is it even rational to remain accepting, in an unquestionable fashion, dictamens made with a total  disregard for the technological advances of our modern times?  

Not one, but two totally different and independent systems of digital detection are  now available that, when used in conjunction with the classical tests and enquiries,  leave no doubt as to the authorship of any Goya's work. How long can the art's community and the people of the world, who in reality art is devoted to, and whose patrimony is denied this technological advance must put up with  art's present days incontestable "inquisitors."..or rather "Grand Inquisitresses...:?