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"Judgement about authenticity of a Goya is based on the validity of semi-occult graphics."
Court officers inspecting the painting
Barcelona's newspaper "El Punt" of Girona. Article published on page 41 on 12/13/06 by Xavier Castillon. Excerpts translated from Catalan Language . Other Spain publications will also be posted here. Click on article for original page.
Two independent technicians experts in graphology and caligraphy offered testimony to the presence of Goya's micro signatures and present as evidence such signatures found in Goya's "La Maja Desnuda"

The technicians and experts in handwriting and graphology Mrs.Imma Lidon and Francina Alcina who had previously been experts in assisting Spanish Police expertises, presented the  conclusions of their studies also supported by the existence of the project of the University of Mataro School of Technology (Spain) about the analyses and recognition of Goya Graphisms. They demonstrated and actually showed them in the projection of several of his paintings, stating: "It looks that Goya liked to play... even "La Maja Desnuda" hides , among others, one in her bellybutton..."

In  spite of this and everything else, the Prado Museum's conservatrice Sra.Manuela Mena insists that "these signatures do not exist" and, in general, she considers them "an attempt at fraud..."

She maintained that it was only a copy of Spanish Painter Esquivel (Antonio Maria Esquivel 1806-1857) dating from after Goya's death (1828) alleging "that the painting could have not included the said condecoration as it was created after Goya's death" (1828).  Even when the date of a particular configuration of the pendant condecoration shown in the painting was created by Fernando VII much earlier (1815) , 13 years before Goya's death, which makes it totally possible for Goya to have known of its existence at the time of the painting, as demonstrated in official trial depositions.                                                                                                             
Orden Gran Cruz Isabel La Catolica, 1815. Click on image for link
"La REAL Y AMERICANA ORDEN DE ISABEL LA CATӌICA fue creada por el Rey Don Fernando VII, mediante su Real Decreto de 24 de marzo de 1815, movido por el aprecio que sentí¡ el monarca por los valientes que defendí¡® sus derechos frente a los insurrectos en Am鲩ca, y con el deseo de recompensar la acrisolada lealtad, el zelo y patriotismo, desprendimiento, valor y otras virtudes, que tanto los individuos de la milicia como los de todas las clases y gerarquí¡³ del Estado han mostrado y mostraren en adelante, en favor de la defensa y conservaciî ¤e aquellos remotos paí³¥s.(Extracted from "LAS REALES ӒDENES Y CONDECORACIONES CIVILES DEL REINO DE ESPAс". Madrid, 1997.
Newsbreak! Top Prado "Goya expert" in lawsuit. Manuela Mena implicated for discrediting authenticity certifications issued by Dr. Juan Ignacio de la Vega. Trial at Spain's City of Gerona's Court House on December the 12th. Public domain proceedings will be posted in this site as soon as they become available.
Why doesn't "El Prado" examine Goya using scientific methods? Want to ask them yourself?
Tell El Prado your opinion! Send them an email
Article of "VANIDADES" 10/24/06.-By Concha Aloza. (Extract) El Prado presents an exhibition of old masters which have been examined by infrared-reflectrography to detect subyacent sketchings, previous drawings, etc. It also mentions that the use of these sophisticated modernized technologies will also serve to authenticate or attribute works to specific painters. End of extract. NOTE of Editor: Will they DARE to subject Goya's works to this kind of modern scrutiny? Or, will Goya never be subjected to this modern scientific form of examination? And if so, why not?
Photograph by Jose Miguel Marco

Let Mrs. Manuela Mena and others at El Prado know your opinion or questions.

Modern technology also breaks bureaucratic barriers!  Shall you wish to make a formal request to perform the scientific tests and technical examinations promoted in this site on some of Goya's work presently at exhibition at El Prado and become a part of this quest for bestowing Francisco de Goya with all the grandeur he deserves,  let them know!

Here's the e-mail address:   museo.nacional@prado.mcu.es Or, just click Mrs Mena picture for your e-mail!


Scientific analysis and technology by the N.R.C.C. discovers Mona Lisa "secrets".

Excerpts from Time Magazine's article October 9, 2006 by Clayton Neuman:

"Italian researchers say Leonardo used a blurring technique called "sfumato", employing microscopic dots near her eyes and mouth...."

"A Harvard symbolist uncovered an anagram scrawled in invisible ink across the painting's face..."  End of excerpts.

Editor's commentary: Thus it is scientifically revealed that Leonardo Da Vinci DID indeed use "microscopic dots" and did imprint this masterpiece with an "anagram" in invisible ink... sounds familiar to the contents of this Goya's Web Site?  Why on Earth would it be so "unthinkable" to entertain the concept that Goya, who spent a sizable part of his life studying the Italian masters in Italy while learning his painting craft, would not, perhaps...just perhaps, follow in the steps of the greatest Old Masters of all times? Out of admiration and captivated by this "subliminal" form of expression. IF, just IF, such a possibility exists, isn't it worthwhile and almost of rigor to properly examine it? How can El Prado elude such a responsibility, in front of the Spanish people and the world?

The various contributors of this Goyadiscovery web site hereby publicly challenge  El Prado Museum authorities to do so and by the same token request any art expert or art connoisseur, or  simply admirers of Goya regardless of they being  Spanish or otherwise, to join in this endeavor for the quest of the truth. In view of such a blatant disregard for public opinion shown until now, El Prado must answer. You can also intervene, shall you wish to let them know your  position. Click here:   museo.nacional@prado.mcu.es

End of commentary. 

 These scientific discoveries found in Da Vinci's Mona Lisa put the Goya controversy under a whole new light!  Hopefully and perhaps with the help of readers of this site, a petition to FINALLY be able to resolve the "Goya matter" is at hand.


Click on image for NRC's web link

Uncovering Da Vinci's Mona Lisa

NRC's 3D scan sheds light on Leonardo da Vinci's most famous painting (Excerpt from NRC's web site.

September 26, 2006 – Ottawa, ON – Today the National Research Council of Canada in collaboration with the Centre de recherche et de restauration des musées de France (C2RMF) announced the completion of the most important scientific study ever done of Leonardo da Vinci's portrait of the Mona Lisa.

By request of C2RMF, researchers from the National Research Council of Canada (NRC) traveled to Paris to scan the Mona with its sophisticated 3D laser scanner. NRC's 3D scanner – capable of scanning 3D images at a depth resolution of 10 micro-meters, or about 1/10 the diameter of a human hair – has provided a number of unique views of the portrait that will assist curators and conservators in their ongoing studies of the 500-year-old masterpiece. "The 3D scan of the Mona Lisa has not only helped to further our understanding of Leonardo's "sfumato "technique of soft, heavily shaded modeling, but will also help to address the conservation and deterioration concerns we have," said Henri Loyrette, Director of the Musée du Louvre which commissioned the study.

Note of Editor: Why do we bring this report of Da Vinci's "Mona Lisa" to this Goya's web pages? Because of the relevance that it is, once more,science, technology and modern methods which have uncovered and validated observations on this masterpiece, NOT the personal, discriminatory and often abstract "opinion" of persons using the archaic, imprecise, and always doubtful "eye technique".... 


Science and Art. A perfect match
Modern Science applied to reveal and discover techniques and mastery imperceptible to the naked eye.
Art, is it Authentic? Follow the Algorithm...
http://www.cs.dartmouth.edu/farid/press/art04/newsweek.html
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.

El resonante sonido del... silencio!

Al parecer la "tecnica del avestruz" es el modo operandi de quienes no quieren o simplemente no pueden respaldar sus erroneas y demodadas opinones, ni aun cuando estas han sido emplazadas publica y abiertamente. Estas personas viven de su tan llamado prestigio, perciben honorarios exagerados por sus "opiniones expertas", han construido lucrativas "carreras"  alrededor de grandes personajes del Arte como lo es Francisco de Goya, y muestran su soberbia y petulancia  ignorando o pretendiendo  convenientemente ignorar la evidencia irrefutable que desmontaria y haria obsoletas sus costosas "apreciaciones artisticas" de autoria del Maestro Goya.

Que estas personas adopten estas ofensivas actitudes es inaceptable, pero  aun mas inaceptable  es que se les permita esta irreverente falta de respeto a todos cuando inpunemente han atacado la reputacion de otros profesionales los cuales si han expresado su deseo y voluntad de abiertamente demostrar la veracidad de sus aseveraciones simplemente realizando las pruebas y comparaciones que se exponen en el articulo siguiente. Seria tan simple y definitivo! Caso y punto a continuacion.

THE ASTOUNDING SOUND OF ...SILENCE!

Apparently the "ostrich technique" is the m.o. (modus operandi) of those ones who don't want or simply can't backup their erroneous and outdated opinions, not even when they have been openly and publicly challenged to do so. These persons make a living out of their so called "prestige", they collect exaggerate honoraries for their "expert opinions", they have built lucrative carers upon great personages of the Arts, like Francisco de Goya and they show they insolence and their pride by ignoring or conveniently pretending to ignore the irrefutable evidence that would dismantle and make obsolete their costly "artistic appreciation" of the authorship of Master Goya.

That these persons adopt these offensive attitudes is unacceptable, but even more unacceptable is to let them get away with this irreverent lack of respect for all of us when they have shamelessly attacked the reputation of  professionals who have indeed expressed their desire and will to openly demonstrate the veracity of their assertions by performing the proper tests and comparisons mentioned in following article. It would be so simple and definitive! Case and point follow.


Professor Perales open and public challenge to Dr. Sarah Symmons (see following text) still remains UNANSWERED. Like an old Spanish proverb says:
Open letter and public challenge from Professor Perales to Dr. Sarah Symmons

CARTA ABIERTA Y  RESPUESTA  DE RETO PUBLICO A LA DRA.SARAH SYMMONS

Ante la respuesta de la Sra.Sara Symmons en reciente entrevista publicada en el sitio Web  http://www.eeweems.com/goya/interview_symmons2006.html diciendo que las firmas de pequeï ´amaï ±ue Goya efectuaba en sus obras, no han sido puestas por Goya, no tengo nada mas que replicar a esta afirmaciî ±ue decirle a esta seﲡ que lo 飯 que tiene que comprobar son las obras del Museo del Prado o de cualquier otro museo efectuadas por el artista y así ¶erificar a ciencia cierta que efectivamente las obras de Goya si contienen estas pequeá³ firmas.

Por lo tanto ã ±ue alguien se ha dedicado a firmar tambié® las obras de dichos museos? Creo que hay que estudiar en profundidad al maestro, tanto t飮ica como cientí¦©camente para poder emitir estas afirmaciones gratuitas detrá³ de las cuales se ocultan obscuros intereses.

Estas firmas aunque no se vean a simple vista, una vez localizadas si se pueden comprobar en el lienzo, grabado, dibujo etc.Ð¥ro hay que emplear tiempo, incluso dí¡³ para poder encontrarlas.

En Espaá ³e han realizado estudios grafolç©£os por personas calificadas en esta materia que trabajan para los juzgados y para la policí¡ emitiendo informes.

婠extrano inter鳠tiene la seﲡ Sara Symmons en intentar desacreditar unos estudios que me han tomado aﳠhasta poder hacer comprobaciones en obras verdaderas de Goya?

岡 que el hecho los tengo patentados para toda Europa y EE.UU no gusta en ciertos cí²£ulos y medios en los que se tení¡ el poder absoluto de certificaciî ¹ expertizaciî ¤e las obras de Goya no es de su agrado o conveniencia personal?

Lo que no menciona Ud. Sra.Symmons es que estas firmas, no solo se encuentran en superficie, sino que mediante examenes de  rayos 䬠se ha demostrado que tambié® aparecen dichas firmas, puesto que Goya firma la preparaciî ¤e sus lienzos antes de comenzar a pintarlos.

Sra. Symmons, ã ±ue alguien se dedica a levantar la capa de pintura y firmar como Goya en la preparaciî ¤e sus lienzos? No sabe Ud. Sra. Symmons que mediante la utilizaciî ¤e luz ultravioleta o ì¡£k light㥠detectarí¡ instantᮥamente la presencia de los pigmentos o tinta forᮥos y extemporᮥos a la é°¯ca. Tal y como se detectan las restauraciones recientes.

Sra. Symmons, Ud. debiera ser honesta y decir sobre todo la verdad y si no entiende UD. lo suficiente, ya se me indicarí¡ que no habrá ´enido  entre sus manos cientos de obras de Goya para no solo expertizarlos, sino tambié® para restaurarlos, y que por lo tanto no deberí¡ Ud. lanzar afirmaciones que puedan perjudicar la creacioyesca y el patrimonio artí³´ico tanto espaﬠcomo mundial.

Ademá³ quiero decirle a Ud. Sra. Sarah Symmons que para certificar una obra de Goya, no solo es suficiente que aparezcan pequeá³ firmas de Goya,sino que son necesarias mä©°les pruebas tanto t飮icas como cientí¦©cas para certificar al 100% una obra del genial maestro Francisco de Goya.

Por ultimo y a fin de terminar de una vez y por todas este diferendo es que desde aquí ¨ago pì©£amente un reto personal a la Sra.Symmons para que presente, pì©£amente, a fin de ser estudiada por un Comit頎eutral una obra ya reconocida oficialmente de Goya y así ¤emostrar, o no,  que contiene todos los datos y caracterí³´icas que ya he publicado hasta el momento.

Es un modo claro, directo e irrefutable de poner fin y de una vez por todas a este diferendo que dado lo serio de las implicaciones de su resultado es por lo que pido sea creado tal comité ´otalmente imparcial. Dra. Symmons, yo la RETO.

De no aceptarlo, Sra. Symmons, sus 塬esé®´enciones quedarí¡® en entredicho.

Firmado: Signed in Madrid, Spain  on 05/11/2006 by Prof. Antonio Perales Martinez.

OPEN LETTER AND PUBLIC CHALLENGE IN RESPONSE TO DR. SARAH SYMMONS INTERVIEW

In view of the responses given by Mrs.Sarah Symmons in a recent interview published in the http://www.eeweems.com/goya/interview_symmons2006.html web site saying that the small size signatures that Goya executed in his works were not done by him, I will have nothing further to reply but to tell this lady that the only thing she ought to do is to examine with the Prado Museum's or any other Museum works done by this artist and in this manner verify for sure that in effect Goya's works do indeed have these miniature signatures.

Therefore, is it that someone has dedicated himself to sign the works of these museums, too? I do believe that the master has to be studied in depth, technically as well as scientifically to be able to cast these gratuitous affirmations behind which hidden dark interests lie. These signatures despite the fact that they aren't readily visible, once located, they do indeed can be verified in the canvas, the engravings, drawings, etc. But, time has to be invested, even days to be able to locate them.

In Spain, graphology studies have been performed by qualified persons that work for the tribunals as well as the police in these matters and they have emitted reports that these signatures correspond to Goya's graphology.

What interest do you have, Mrs. Symmons, in trying to discredit studies that have taken years to be able to make this verifications in the works of Goya? Might it be the fact that I have copyrighted and patented these certifying methods in Europe as well as in the U.S.A.? This,  not being of the liking of certain "circles" and places in which the absolute power for certification and authentication used to lie.  Might it also be that it is not of your liking or personal convenience either?

What you did not mention, Mrs.Symmons, is the fact that these signatures are found not only in the surface but that also through the use of X rays as it has been demonstrated that they do also appear llike this, given the fact that Goya used to sign the foundation of his canvas before beginning to paint them.

Mrs.Symmons, is it that someone is dedicating himself to raise the layers of paint and sign as Goya did in the preparation of his canvas? Don't you know, Mrs. Symmons, that with the use of a simple ultraviolet light (or black light) the presence of any foreign or extemporaneous pigments or ink would  be instantly detected as they would differ from the original work? Just like all recent restorations work is detected.

Mrs.Symmons, you ought to be honest and truthfully say so, if you do not fully understand, that would indicate to me that hundreds of works of Goya have not been though your hands, not only to expertise them, but to restore them as well as I have, and therefore, you should not cast affirmations that could damage the goyaesque creation or the Spanish artistic patrimony as well as the world's.

Besides, I would also like to tell you, Mrs, Symmons, that in order to be able to certify a work by Goya, it is not only sufficient for small signatures to appear, but rather multiple tests, technical as well as scientific, have to be performed to be able to certify 100% a work of the genial master Francisco de Goya.

Finally, and in order to put an end once since for all to this repetitious differendum is that I hereby publicly and openly challenge you to present any officially recognized painting by Goya in order to be studied by a NEUTRAL COMMITEE and in this way unequivocally demonstrate whether all the characteristics and markings pertaining to Goya that I have made public to date are either present or not!

This would clearly constitute a balanced, impartial, clear and irrefutable way of terminate with this controversy, and given the grievous implications those result will have, is that I request for such an impartial commitee to be implemented.

Should you, Mrs. Symmons, not accept my rational proposition, your "real" intentions might be unveiled. I do DARE you, Dr. Symmons.

Signed in Madrid, May the 5th. 2006 by Professor Antonio Perales Martinez


A portrait of Goya at age 80, by Spanish painter Vicente Lopez.

Editorial commentary: It looks to this editor that this confrontation  arisen from perhaps unfortunate statements publicly made by Dr. Symmons in which innuendos and ambiguity seem present in liberal amounts has finally brought to public light a situation that must, I emphasize must, be cleared up in an incontrovertible and verifiable manner by either one of the professionals involved. Otherwise their respectability and credibility would be at a irreparable risk.

The fact that Dr. Symmons, much as Professor Perales, are private Goya specialists in their own right and do not seemingly represent or are  evidently tied to any "official institution" (read Prado/Manuela Mena  & Christie's - Sotheby's / Juliet Wilson Bareau)  is precisely why they ought and must clarify their respective positions and do so with much more liberty and lack of restrictions.

That said, there is indeed a fundamental difference between Prof. Perales and the two  above mentioned ladies; Professor Perales issues a signed authentication certificate with numerous and extensive backing documents, photos, analyses, etc. with a step by step backup of all his findings, thus, entrusting his personal as well as professional reputation in the validity of his findings. The others... they just emit "opinions"....and don't you dare to ask them to put it in writing!

                                        This "challenge" is not new.

Professor Perales has consistently and repeatedly proposed to the top oficial at "El Prado Museum" namely Mrs. Manuela Mena and, by extension to her "close associate" Juliet Wilson Bareau, to perform such an easy and simple task, considering the immense resources at that Museum's disposal.

To unhang and submit not one, but several officially recognized Goya's paintings which are already in exhibition at thia prestigious Museum and perform, in conjunction with a pre appointed neutral and impartial committee of several independent Goya specialists all the necessary tests and verifications to finally, I consciously repeat ,finally put and end to this degradation of personalities not to mention the damage to the prestige of several institutions and, most serious of all, the deprecation of the work of one, if not the most, genial of all Spanish Old Masters,  Francisco Jose de Goya y Lucientes.

I thought that it might prove appropriate inserting Goya's portrait when he had reached the very respectable age of 80 years and in which you can sense a somewhat disgust look in his expression...if he only knew at that time what it would come to almost two centuries later, certainly he would have  been most disgusted!

In my humble opinion this has gone  by far way beyond personal egos. So, the time has come for the participants of  this already embarrassing controversy to act consequently.

YOUR CREDIBILITY IS AT STAKE.

 Demonstrate to the world with VERIFIABLE ACTIONS and accountability where the truth lies...or by inaction and passivity lend credibility to your opponent and just STOP HURTING GOYA!!!! 

P.S. It baffles this editor how the Spanish intelligentsia, academic and scholar personalities have remained silent, static, impassive, not intervening to defend what is the right of the Spanish people and the culture of the world. Gentlemen, the time for "comptes a rebours" (settlement of accounts) has arrived!

Gentlemen, respectable ladies, please, awake from this complicit dishonorable "stupor" and come forth, demand action!

Demand it now!: museo.nacional@prado.mcu.es


Another hidden signature and Goya's graphism found in painting atributed to the Spanish Old Master.
"Conde de Floridablanca" by Goya. One of several renditions of this Spanish aristocratic character. Photo archives Pere-Ferrer.

Excerpts of  article published in the "Heraldo", Gerona. Europa Press on  May the 2nd. 2006. Section "Cultura" Page 19.

"An art gallery from Gerona puts on sale a Goya painting." 

"This art gallery from Gerona will put on sale the painting within the framework of a sale that could be visited in the city between the dates of May 14 and the 21st. The gallery owners, Pere Ferrer and Ann Maria Ferrer, organize a yearly show, coinciding with the city of Gerona 's yearly flowers exposition and they intend to introduce artists as well as selling works, according to the "Diario de Gerona" publication..."

"This Goya's painting is a portrait of the "Conde de Floridablanca" painted between the years 1782 and 1783, and keeps "secrets" like a human figure of small proportions that can be perceived in the portrait's left eye and a strange signature in one of the character's hands.... "

Editor's note: Once more, totally independent, knowledgeable, unbiased art people discover by themselves evidence of Goya's genial self authentication methods in his art pieces.


Another Goya's rendition of "Conde de Floridablanca".

"El Heraldo de Aragon", Zaragoza, May the 3rd, 2006, Section Cultura. The following are brief excerpts as article is rather extensive.

 By Anton Castro., Zaragoza:

The Aragon government puts final touches to the purchase of "an spectacular Goya painting."

"The Aragon government is completing the acquisition of this "spectacular Goya's painting." We cannot reveal anything else, nor the title or provenance, or its cost as this could be prejudicial for the buying process that is indeed very complicated, conversations are very advanced, but prudence doesn't allow me to say anything else."  These are the words of the General Director of Patrimony, Jaime Vicente Redon, who also said that his department has for the Pablo and Serrano Museums, as well as  the Goya Museum  an assigned budget for the acquisition of works of art...." 

Further into the article, Don Gonzalo Borras, who is the person responsible for the Museum project of "Espacio Goya" (Goya's Space) said that he didn't know this painting and that he was surprised by its price. He continued: "We have been sending reports to the Aragon government about some important Goya's portraits that are on the market, such as that one of the bullfighter Pedro Romero or the one of the Infant Don Juan Manuel's daughter.  All of them oscilate between eight and twelve millions Euros..."