Goya the naked maja








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The Spanish Inquisition subsequently questioned Goya in and demanded to know for what reason he had painted them. Goya had developed a most productive artistic relationship with him at the time. In this piece the setting and pose are identical but the subject is fully clothed. It is commonly alleged that Goya sought to create companion paintings, either in the style of Titian , whose Venus and Adonis complements the Dana when the two are placed face to face, or along the lines of Juan Carreno's Monstruas Museo Nacional del Prado, Madrid , naked and clothed. She exposes herself without modesty, her arms behind her head, her pubis the center of the composition. In the painting was in the collection of Prime Minister Manuel de Godoy. Goya jettisons "excuses" for the nude. Goya's skill is obvious in this painting, as well as in the Maja vestida, where the play of cold light and subtle shadow shape the figure with absolute assurance. The Burial of the Sardine. But this Ariadne is awake, and fixes her gaze directly on the observer, thus transforming the encounter between them in an erotic occasion,. Though the canvases have aroused the curiosity of numerous scholars, the Inquisition's questions remain unanswered since the early nineteenth century We do not know who commissioned the paintings. Baticle proposes Pepita Tudo, Godoy's mistress, as the most likely model, claiming that her head was refashioned in , when Godoy wed the countess of Chinchon. The paintings are commonly presented as a pair and were commissioned at the same time. From that time until the present day it has been on display in the Prado Museum, Madrid. The painting still upset many members of the church whilst also causing a sensation among public viewers.

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Description: A more objtive assessment would stress Goya's great mastery of human anatomy, clearly observable in his full-figure nude studies from life, or earlier, in the perfect balanced Christ on the Cross Museo Nacional del Prado, Madrid , the painl that gained him admittance to the Real Academia de Bellas Artes de San Fernando in Though the canvases have aroused the curiosity of numerous scholars, the Inquisition's questions remain unanswered since the early nineteenth century We do not know who commissioned the paintings. Goya's skill is obvious in this painting, as well as in the Maja vestida, where the play of cold light and subtle shadow shape the figure with absolute assurance. It was there that Pedro Gonzalez de Sepulveda saw the Maja desnuda in Sepulveda criticized the Maja desnuda, rather unjustly, as "a work devoid draftsmanship and clumsy in coloration. It has been reported that Manuel de Godoy originally hung the clothed version of the painting in such a manner that a pull of a cord activated a pulley mechanism that then revealed the La Maja Desnuda to the viewer. The background is dark and without feature, the light of the painting is solely focussed on the subject. Click Image to view detail. More recent investigations incline toward the Prince Peace Godoy himself as patron. Previously any paintings revealing so much of a woman were of prostitutes or similar. The Burial of the Sardine. The paintings are commonly presented as a pair and were commissioned at the same time. If true, such an account supports arguments that the duchess herself served as the model, and that, as Viardot suggested in , she ordered the head altered to conceal her identity. In the piece was discovered by an investigator from the Spanish inquisition along with a number of other pictures that the Inquisition regarded as obscene and salacious.
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