| UPDATED ON 09/01/2010 GOYA FIRST DIGITAL CATALOGUE ALREADY PUBLISHED AND AVAILABLE. AT: goyanewpaintings@gmail.com |
Breaking News! "Goya Scientific Digital Catalogue" of inedited, unrevealed Goya's paintings is now available through this site.
Orders at: goyanewpaintings@gmail.com
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| 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. |
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| Duquesa de Alba by Francisco de Goya y Lucientes, 1797. Subjected to the F.A.C.T.S. authentication method. Ejemplo perfecto de la existencia de las firmas de Goya ocultas. Click following PPT link and PRESS F5 for viewing evidence. |
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| 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? |
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MISSION STATEMENT
This web site intends to prove BEYOND ANY REASONABLE DOUBT through science applications, modern computer optical recognition technology, 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 also to 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 letter signature.
At last an impartial, objective, unbiased verifiable 21st. Century DIGITAL authentication technique now is 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to the existence of Goya's miniature signatures embedded in his original works have become OBSOLETE as they are no longer applicable.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 in all other masters as shown in this recent article:
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| Modern Detection Technology used, acepted and even enforced on EVERY other Old Master's work EXCEPT Goya? Why? |
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| Goya ratifica la autenticidad de sus obras aun desde su inmortalidad artistica. Cliquee sobre foto para articulo completo. |
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| 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. |
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
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| 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. |
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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/
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| 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? |
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| 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? |
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| Detalle "Los Fusilamientos del 3 de Mayo" 1808 |
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| Close up of distinguishable traces in hand of praying character. |
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| Highlighted contoured Goya's signature disguised as hand's crevices. |
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| Obra historica de Goya denegada por El Prado apesar de mostrar firma disimulada en ella. Esta obra cuenta con un amplio dossier de procedencia historica. Hasta cuando se ignorara y denigrara la obra inedita de Goya? |
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| Qué dicen en el Museo del Prado? "Tiempo atrás, ni siquiera habían visto directamente el lienzo: me pidieron una fotografía y dijeron que se trataba de un cuadro de fines del siglo XIX". Solé señala que un análisis del primer laboratorio de láser de la Politécnica de Barcelona confirmó la ejecución de la obra entre 1814 y 1830. ¿Podría ser de un discípulo de Goya? "Si así fuera, no tendría sentido la firma, camuflada sobre una piedra a los pies de la heroína, donde figura una letra efe unida al apellido del pintor, con exaltada grafía", replica Solé. CLIQUEE SOBE FOTO PARA LUJO DE DETALLES. |
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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://vromo.blogspot.com/2010/03/goya-y-los-simbolismos-ocultos.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
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| EXCLUSIVE! Prof. Antonio Perales "In his own words". A personal video-audio expose insight into the content of this dedicated Goya site. This is our hommage as this was his last interview. Click on the following link. |
"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.
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The incredible talent of Spanish Old Master Francisco de Goya y Lucientes , his ingenuous hidden techniques, discover all his magnificent "parallel" artistry and his astonishing secret method of irrefutably identifying his works, by self authentication, imprinting them with cryptic symbols, hidden faces, diminutive signatures, rubrics,a myriad of embedded graphics, etc. discovered and revealed by one of the utmost technical experts in Goya.
DISCOVER GOYA...AGAIN!
One of the most magnificent Old Masters painters whose talent is even greater than it was recognized ever before !
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| 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. |
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.
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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.
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| Testimonios publicados de expertos caligrafos policiacos certificando hallazgo de firmas ocultas en pintura de Goya |
“"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” .
Testimonio oficial en Corte Suprema Espanola de expertas en caligrafia y grafologia forensica policiacas Francisca Alsina e Irma Lidon. Ver articulo completo: http://www.interviu.es/default.asp?idpublicacio_PK=39&idioma=CAS&idnoticia_PK=57782&idseccio_PK=547&h=
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| WORLD WIDE BREAKING NEWS! El Prado Museum unwillingly reveals the discovery of Goya's hidden miniature signature . |
| 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. |
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| Firma miniaturizada de Goya oculta en la hoja del punal. |
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| 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. |
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"Esta rehabilitación ha permitido descubrir algunas particularidades pintadas por Goya que hasta ahora pasaban inadvertidas, como por ejemplo la pequena firma de 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."
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| "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. |
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| Manuela Mena |
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Vea a continuacion el video clip de 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 erroneamente insinua.
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.
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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
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Haga click en este sitio especiallizado sobre el "Proyecto Goya" de la Universidad Politecnica Autonoma de Mataro, Espana. Mas abajo verifique documento PDF de su exitosa ejecucion. Descripciones explicativas de definiciones tecnicas y academicas sobre la metodologia cientifica de digitalizacion de dichas firmas miniaturizadas por Francisco de Goya.
http://www.eupmt.upc.edu/goya/
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"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
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| Another misrepresented Goya painting is discovered and publicly unveiled. See whole following Spanish Press article. |
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 for more evident examples.
Click here:: http://www.eeweems.com/goya/graphisms_turkey.html
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"Goya utilized very thin brushes and feathers, with which he writes his mini signatures"...
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| 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. |
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| Graphism No 1.-Second smaller hidden turkey disguised as a wing. |
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| No.2.-Diminutive image of bearded man's face at left of Turkey's eye. |
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| GOYA in cursive signature (lighter colors) at base of painting |
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| Don Manuel Osorio Manrique de Zuniga by Goya (1784-1792) Observe contenido ovalo rojo a continuacion. |
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| Acercamiento a mini firma de Goya en ovalo rojo |
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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?
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Visite este sitio altamente ilustrativo y complementario de toda la informacion, datos y noticias que se ofrecen a la luz publica apesar de todos los intentos fallidos de los grandes intereses en el "control" , sobre todo financiero, de la obra inedita de Goya.
http://www.laverdadsobregoya.com/
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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
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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
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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.
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| "Graphisms are difficult to see to the naked eye, if the person who is looking for them does not have experience in this kind of information. Nevertheless, this problem can be resolved with computerized digital image processing" |
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
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| Madrid, 16/02/09 Diario ABC Seccion Cultura por J.G.C. "Guerra de Expertos en Tiempos de Goya" |
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"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..."
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| "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. |
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!
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.
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| 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) |
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| Francisco Jose de Goya y Lucientes . "The Father of Impressionism". A genial talent whose magnificency is being "rediscovered"! |
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