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Real Goya

The sensitive mystery • Conversations waiting (Part I)

“Men not endure healthy doctrine, but will be surrounded by masters tailored to their own desires and what they like to hear; and separating the ear of truth, will come back to fables”(read ideologies), the psalmist says.


The Jesuit Ignacio de Loyola (1491-1556), in his very famous Spiritual Exercises, speaks of the composition of place, a methodology technique by means of which the worshipper has to evoke and “compose” or recreate a certain scene in his imagination, and inserted into the same so he can better understand, to interpret it more successful and deep.

In this regard, I now will try to get close, to the extent of my possibilities, what today suggest this type of thoughts and actions. And to focus the issue I remember from the first time I read it, always has struck me this quote from the poet and editor Gotthard de Beauclair (1907-1992):

“After noon, light becomes precious.

The birth of the star begins in the shadows.

The great stillness.

You are alone.

Not abandoned”.


Riccardo Muti


As well, my admired Riccardo Muti, a Neapolitan born in 1944 which today is rightly one of the most renowned orchestra conductors in the world, took in the Christmas 2010, and within the so-called Court of the Gentiles, a historic meeting with Cardinal Ravasi in the Basilica of the Ara Coeli in Rome. The most cultured and admirable part of Italian society occasionally attends this kind of meetings, such as that epistolary memorable between Cardinal Martini and Umberto Eco, concerning what they believe those who do not believe.

I try to translate below part of the meeting Ravasi-Muti, which seems more relevant:

Muti began claiming that “even outside music, 20th century was a century of turbulent, tragic, full of horrors. Art often has the ability to proactive and predict the story, to show in advance, so disconcerting sometimes, what will happen.”

Tristes pensamientos • Francisco de Goya

Tristes presentimientos de lo que ha de acontecer (Desastres de la guerra)
Aguafuerte, punta seca, buril y bruñidor
178 x 220 mm.

He adds, shortly after, that “I thought that there is a deep connection between musical rhythm and heart rate. The song itself, on the other hand, was born when man realizes the immensity of nature and tries to get closer to it: raising the voice and thus get to elevate the soul.

Much contemporary music, however, it’s scared to sing, prevents it, and lies in rhythmic formulas of extreme complexity. In a word, cannot reach, goes outside the man”.

It also says Muti, “for me, music has always been one of the energies of the miraculous universe, humans have been able to capture.” I like to think, from time to time, that will be born a composer able not to invent something new, but at least minimally perceive the harmony of the heavenly sphere that the great God’s ear listens in eternity. It may be a rhetorical statement, but remain convinced that the task of art is to fill the spirit of man.

The art of the 20th century, on the other hand, chose to represent the dramas of History, despair and anguish of the man. But I don’t think that this may be enough. I believe furthermore that all of us have the obligation (I repeat and emphasize: the obligation) to write and work to prepare for the coming of a new, large station or musical era. If I can afford a metaphor that suggests to me the Christmas ambient, it is as if contemporary music still was waiting for their Messiah. Perhaps we should learn to look at the last century as a long period of preparation for the activity of an author, to be finally able to recompose the harmony lost, without renouncing the work and the experiences of their predecessors and treasuring, even, the multicultural experience. “This is the event we have to wait and that, more than any other, should help prepare with our daily work”.

They look like unusual roads that, I am sure, are obligatory application to a Goya neither courtier, nor portrayer nor complacent in the Court, nor by commissions from a superficial aristocracy. But it feels like hunch when entered through more risky roads, more difficult and more frontiers, as in the issues dealt with in his prints and the black paintings, for example.

(End of part I)

Gonzalo de Diego.

Maestro Barbieri • G&L5

Pan y Toros. Goya in Literature 5 • November 2015

Literature, music and theatre are honoured once more the figure of Don Francisco de Goya. This time it’s the famous zarzuela ‘Pan y Toros’ (Bread and Bulls) by maestro Francisco Asenjo Barbieri, composer, musicologist and opera conductor from Madrid. It is a zarzuela in three acts, with libretto in verse of José Picón. It was premiered on 22 December 1864 at the Teatro de la Zarzuela in Madrid.



The title of the work refers to the Spanish expression, heiress of the latin panem et circenses (bread and circuses), which describes the feast of the bulls as a diversion that feeds the low passions of the people and dampens the social conflicts.

The argument focuses on the end of the 18th century in Spain, and tells a liberal conspiracy to King Carlos IV to roll back the influence of his Prime Minister, Manuel de Godoy.

Political intrigue that gives rise to the history place, by one side, iniquitous corrupt aristocracy, the franchised and the clique, headlined by chief magistrate Quiñones and Pepita Tudó, lover of Godoy, and on the other, the people, the illustrated and cultured aristocracy, with Goya, the Princess of Luzán and Captain Peñaranda, and as a leader and saviour of the homeland, Jovellanos. Pepe-Hillo, Pedro Romero and Costillares bullfighters also make their appearance in the work.

It is a historic fresco which Barbieri gives a music that has its roots in the popular and goyesco. Thus, emphasizes the dignity of the tune of the 18th century, among other reasons for the musical folklore in Spanish, such as bolero, jota, seguidilla, pasodoble, the gavota and the contradanza and characters as sellers, manolos, manolas, sheriffs, walloon guards, members of a brotherhood and dancers.

It is the first play with success that introduces the figure of Goya, being therefore precursor of goyesco items that so successfully and broadcasting would have throughout the 19th century.

Because of its political content, suffered problems with censorship under the reign of Isabel II.


Francisco Asenjo Barbieri was born in Madrid 3 August 1823, in Zorrilla Street, known then as of the Deaf, and died in the same city on 17 February 1894. After starting studies of Medicine and Engineering, the Italian opera decided to his vocation.

Features José Luis Tellez that Barbieri is the most important musical personality born in Spain between Antonio Soler and Isaac Albéniz and would be called to take to its zenith the model of zarzuela in three acts.

His major works include: Gloria y peluca (Gloria and wig) (1850), Jugar con fuego (Play with fire) (1851), Los diamantes de la Corona (Crown Diamonds) (1854), Mis dos mujeres (My two women) (1855), El Diablo en el poder (The devil power) (1856), Pan y Toros (Bread and Bulls) (1864) and El barberillo de Lavapiés (Lavapiés barber) (1884), considered his masterpiece.

He founded the Society of Bibliophiles, was an indefatigable researcher in the archives of the Cathedral of Toledo, the Monastery of El Escorial and the Royal Palace in Madrid and published, among other gems, the Cancionero de Palacio (Palace Song Book) inexhaustible source of inspiration for him and the musicians who happened to him. In addition he contributed decisively to the construction of the Theatre of the Zarzuela, opened on 10 October 1856.


Jose Picón García was born in Madrid in 1829.

He studied architecture but abandoned the race to fully engage in dramatic literature. Attracted by the theatre, he opened in 1859 a short piece, El solterón (The Bachelor), which was very successful. He specialized in librettos of zarzuela, who composed several for Cristóbal Oudrid and Francisco Asenjo Barbieri, above all. He gained popularity with the libretto of Bread and Bulls, with Asenjo Barbieri music and premiered on 22 December 1864, at the Theatre of the Zarzuela in Madrid; the work was represented for three years without interruption and was banned by Queen Isabel II by alleged antiroyalist allusions.

As librettist of the zarzuela is one of the best and least conventional of the history of the Lyric Theatre. He died in Valladolid, in 1873.


The origin of Bread and Bulls (according to the dictionary of the Zarzuela), began writing on 18 January 1864, reason why Picón had to write the script, partial or completely, along 1863. On the other hand, Salvador Valverde ensures Picón gave the libretto to Barbieri in 1864 and that Barbieri was able to compose it in a single month. The work itself could be divided into three parts. The submission responds to the first act in which the characters are displayed. The central part represents the dramatic climax, the heart, vital in zarzuela grande. The final outcome occurs in the latter, the third act.

It was one of the most successful of all the zarzuela repertoire works, and of course, by José Picón. He filled the scenarios since its debut, as already recognized the author before the prohibition of work in 1867, (also banned the bands to make use of the famous parade of manolería).



Princesa de Luján (Princess of Luján): Liberal, contrary to Godoy. Mezzo-soprano.

Doña Pepita: Pepita Tudó, morganatic wife of Godoy. Soprano.

La Tirana (The Tyrant): famous popular singer. Soprano.

La Duquesa (The Duchess): Duchess of Alba. Soprano.

La Ciega (The blind): Soprano

Peñaranda: Captain of the army. Baritone.

Goya: Famous painter. Baritone.

Abate (Abbot): Comic Tenor.

General: baritone.

Quiñones: Corregidor. Baritone.

Pedro Romero: Famous bullfighter. Comic tenor.

Pepe-Hillo: Famous bullfighter. Bass.

Costillares: Famous bullfighter. Baritone.

Santero (Species of beggar): Comic Tenor.

Jovellanos: Illustrious Spanish liberal. Actor.

A brother of the mortal sin: Bass.

A waiter’s Chalk: Tenor.

The zarzuela consists of 15 musical numbers. Begins with an instrumental intro in which the author presents the two environments on which rests the work: the dramatic with the appointment of the Marseillaise, and comedian, represented by the music of popular Hispanic character.


The action takes place in Madrid in 1792. In scene, a family of blind on the banks of the Manzanares river commenting on the news of the day. On the right, the house and studio of the Goyas. Enter the chief magistrate Quiñones and receives the news of the fake blind on the last developments in the house of Francisco de Goya. The chief magistrate then climbs to the house of Goya, where maintaining a conversation with Doña Pepita, which discussed the new political events. Appears the general, announcing the defeat and the consequent withdrawal of the Spanish army.

To prevent possible riots, the chief magistrate commands that bullfights be offered, which will carried out by some of the most popular bullfighters: Pepe-Hillo, Romero or Costillares. At the ceremony of choice of the bullfighters, the Abbot, commissioned by the chief magistrate, cheats in favour of Romero. Captain Peñaranda remembers the disastrous military campaign and his astonishment to see how people in Madrid live apart from all this. In the house of Goya, the chief magistrate ordered to arrest the Captain, but appears the Princess and gets to defend him. At the same time advancing a parade which intends to publicly apologize to the King of the soldier sentenced to death. The Princess, moving among the crowd, is headed into the Palace calling for release of the soldier, carrying documents that Captain Peñaranda confided.


The action takes place in a Street in Madrid. It is nigh time. From the balcony of a Palace, where a dance develops, the blind man tries to convince the santero for the death of a soldier but is scared by the arrival of the town crier of the Mortal Sin. Doña Pepita tells the chief magistrate her concerns, as the Princess could destabilize the scene, got the Royal pardon and also informed the monarch of the military situation. The chief magistrate is aware and convinces the King of the alleged falsification of these documents, trusting that signed peace with France, which would allow them to keep the political situation. Appears the Princess -convinced of the failure of the King, who cares about the game and only listen to the opinion of Godoy- accompanied by Goya, the Captain and the Abbot. Because of this situation, they decided to resort to Jovellanos. The Abbot communicates the wound Pepe-Hillo has been done while was bullfighting. They want to make responsible for this the Princess and Jovellanos by their desire for change with bullfighting. The Princess is convinced that, given this situation, the fight is necessary. When dismisses the Captain confesses to him that it was she who healed him of his wounds in Bayonne. When the Captain is left alone, the santero tries to stab him, but is frightened when appears that of the Mortal Sin. Faced with this situation the blind decides to stab the santero. Hearing the mortal cry, the chief magistrates believes that they have killed the Captain, according to his wishes.


Onstage, Jovellanos tries to convince the Princess to delay the profession of vows, while someone appears by surprise and he hides behind the dresser. There is Doña Pepita that apologises to the Princess and announces that it has signed the armistice between France and Spain. The chief magistrate and the General, that want to hasten the entry of the Princess in the convent, come to convince her. The bloody cape of the Captain that presents the chief magistrate is about to change the plans of the Princess, that suddenly hears out a song in the voice of the Captain, deducing that is still alive and decides to confront the chief magistrate, Doña Pepita and the General. It’s a messy moment of confusion at the scene. In all of this appears Goya with the Extraordinary Gazette where it appears the new appointment of Jovellanos as Minister. All together celebrate the end of the conflict situation, relying on Spain, who will know how to defend against the French.


From this page we urge readers to listen to this great zarzuela and, if possible, accompanied by the libretto, the enjoyment will be higher. Appears a Goya which has nothing to do with the previous opera, Goya by Gian Carlo Menotti. We hope, through music, get closer to the always mysterious figure of the painter.


The almost only complete version (several numbers missing, including a duo of the Princess and Doña Pepita, as it explains the Zarzuela’s dictionary, was left singing perhaps already in the 19th century for its difficulty, and that makes most valuable the recording contained between fragments) is the following:

Alhambra 1956 – Directing Indalecio Cisneros to the great Symphonic Orchestra and José Perera to the Cantores choirs of Madrid choirs and sing Ana María Iriarte, Conchita Domínguez, Manuel Ausensi, Carlos Munguía, Rafael Campos, Carlos S. Luque, Enrique Malvado, Joaquín Portillo and Gregorio Gil.

(It can be heard on YouTube the complete works).


– CASARES RODICIO, Emilio: Bread and Bulls, in Dictionary of the Zarzuela, Spain and Latin America, Madrid: Instituto Complutense de Ciencias Musicales, 2003, vol. 2, pp. 466-473.

– CASARES RODICIO; Emilio: Francisco Asenjo Barbieri. Vol. I. The man and the creator. Madrid: ICCMU, 1994.

– BNE, National Library of Spain; Digital newspaper archive.

– Program of the representation of the work. Symphony Orchestra and Choir of the city of Gijón – Jovellanos Theatre. 6 February 2011.



By compiling texts and various information: Silvia Pagliano

Goya Museum. Zaragoza.

In May 1978, as a collaborator for the savings bank Caja de Ahorros de Zaragoza, A. & R. as director of its exhibition halls, I got commissioned by the then head of the Benevolent Fund for Arts, Mr. González de Agüero, to make a journey from Zaragoza and visiting Professor Camón Aznar at his home in Madrid. The idea was that this showed me his very extensive collection and I draft a report on the overall quality of the set. Mr. José-Joaquín Sancho Dronda, General Manager of the savings bank, had initiated contacts with the Professor Camón overlooking the bank could be in charge of the collection, locate it on a representative building and hold it at their expense, as well as be directed, as a Museum and Institute of Humanities, by own Professor Camón and subsequently by his heirs, and mainly by his daughter and heiress Mrs. Pilar Camón Álvarez.

Years and years of tireless searches had converted to Camón Aznar in a very important collector for his time; but was a secret collector and almost unnoticed, because only a few knew of his generous project and the real importance of the Fund that was treasured.

The trip was set for the 15th day of that month to be holiday in Madrid, San Isidro, and Professor Camón was free of commitments and could dedicate the whole day to show me the collection. The Fund gave me tickets for a round-trip by air and at midday greeted me Professor at his home in Isaac Peral Street, on a flat of the Complutense University, in one of the blocks earmarked for housing their teachers.

On that flat there were two rooms, locked, containing a very large number of paintings, stacked ones together with others and taking up all the room. Showed me them one by one and, in each case, the Professor not only made his comment, but also made me questions and requesting my opinion on this. I keep for me those very significant conversations: revealing, without witnesses, half examination and half with an open heart.

After the visit to so extensive part of the collection, we move to another area of Madrid. Specifically to an apartment which, belonging to the Scientific Research, CSIC, Professor Camón occupied in a building close to the Avenida de América, very close to the building “White Towers” by the famous architect Sáenz de Oiza. There were another important part of the collection, more focused on works of the XX century, abundant works on paper, prints and some sculpture.

The process was thoroughly similar to the one followed in the flat at the University. And from there we finally went to Pez Street, to the pharmacy of Mrs. Pilar Álvarez, wife of Professor Camón. In a space within the premises, the Professor and his wife (a unit collector in which both emphasized) kept the large formats of the collection.

Well, after this third visit, the Professor told me that there were still some pieces of great value, which were kept in a safe in a Bank, but because of being holiday in Madrid could not show me. In any case, we agreed, he had showed me more than the 90% future legacy and believed that I could do myself a general opinion about it.

In addition to all this, Professor Camón showed me manuscripts drawings that had organized the distribution of 26 spaces or small rooms to hold the most of the collection, with intention to give an atmosphere of intimacy. A collection that the marriage was considered the preferred object of a lifetime and in which had invested all their savings.

Late in the afternoon I returned to Zaragoza and, in a few days, I gave my report to the head of the Fund, Mr. González de Agüero. There started and ended my relationship with Camón Aznar and its Museum (until the year 1991).

Professor Camón already then worked with architect Regino Borobio and knew that the building chosen to house his Museum was the so-called Palace of the Pardo, originally Palace of Jerónimo Cosida, located at Espoz y Mina Street of Zaragoza. That was a space more than suitable for the function that wished to give to the collection rightly considered by both parties. And at the same time that was ideal for the legacy, was rescued for a new life one of the most characteristic buildings of the Aragonese Renaissance.

Indeed, the process continued succesfully and culminated with the inauguration of the Museum and Institute of Humanities Camón Aznar, on December 1st 1979. It was a pity that the famous Aragonese polygraph could not see that event,-died in May-, as per the words of A.M. Campoy, the idea to bequeath to his city the art collections that had been formed throughout his life was, in the field of human ambitions, the great project of his life. This is contained in a plate in the façade that says: “MUSEO CAMON AZNAR. Benevolent Fund of Arts, Saving Bank of Zaragoza, Aragón and Rioja”.




It began the career the Museum and Institute for Humanities of the same name with an excellent program of temporary exhibitions. Worthy of remembrance were in its first stage those devoted to Gothic painting in the Crown of Aragón, and that of the Aragonese Renaissance goldsmithing. This first stage, with ups and downs, would end in 1986 with the resounding failure of the one dedicated to the so-called “Young Goya”.

In a second stage, from 91 to 95, the temporary exhibitions would be programmed from the Fund of Ibercaja, with the blessing of the Board of Trustees of the Museum and Institute for Humanities, highlighting those dedicated to André Masson, the Negatives of Goya, to Henri Cartier-Bresson photographer, Joan Ponç, Denise Colomb and Joaquín Sorolla, among others. Later, from 96 to 2000 including exhibitions of Francisco Bayeu, Santiago Lagunas, the Cobra Movement, William Hogarth, the wonderful of Rembrandt-Goya-Picasso and already, in the last stage until 2007, Aureliano de Beruete, Ramón Casas and Santiago Rusiñol. There were showcased in the programming support for Aragonese artists of importance and recognition for a lifetime of work, the teaching quality of exhibitions of significant artists of the 20th century and the direct junction of others with artists that made up a significant background in the Camón collection.

The Institute of Humanities was intended for research of Art and History of Aragón and aesthetic research in general. Its large library was thus opened to scholars of its work and began the publication of its newsletter.


An important break even occurred in 1996 (250th anniversary of Goya’s birth) when Juan Bolea and other journalists in the region began to demand the creation of a Goya Museum in Zaragoza. That forced to join forces between Ibercaja and the Museum of Zaragoza (dependent on the regional government), the two great collectors of Goya’s work in the city, together with the Sociedad Económica de Amigos del País.

As per then the goyas of Ibercaja were in offices and not accessible to the general public, Ibercaja had the good sense to start a called “Space Goya” (© Rafael Fernández Ordóñez) and locate their goyas, together with the founder the Economic Society in the Patio de la Infanta, so that with a flawless installation as a museum these were accessible to the general public. It was opened formally on April 4th 1997. It was defending the heritage of Ibercaja, but at the same time to expose it for free for the joy of the general public.

Aside from that initiative of Ibercaja, for various reasons later could not meet all the goyas of Zaragoza in a single enclosure and, although tried to create this expanded “Space Goya” at Plaza de Los Sitios, the Museum project -who never wanted to be called Museum- not flourished when changing the colour of the regional government in local and autonomous elections that spring.


Another important moment in the life of the Museum and Institute of Humanities of Camón Aznar will take place years later. At the end of 2007 closes a few months to carry out an intensive renovation overlooking the Expo of Zaragoza, which will take place in the spring and summer of 2008.

Indeed, rearrange spaces and despite of many appearances more dramatic and decorative than real, and counting though with the approval and blessing of the Museum’s Board of Trustees (which Ibercaja submits the project for approval), I believe were committed two major errors: the first, entrusting the forced reorganization of collections and exhibition discus to an unsuitable person; the second and most important yet vanishing library (converting it in hall for temporary exhibitions), as well as limiting very awkwardly the space for studio, offices and administration. The library is moved to another location, several miles away and, rather than in the company of other libraries and collections specially prepared for the investigation, such disability does cause a severe failure in the Museum and, above all, in the Institute of Humanities. Museum and Institute of Humanities which from that moment passed to be called “Camón Aznar Ibercaja Museum” (MICAZ), although in Zaragoza “everybody” continued calling it Museo Camón. No catalogue of works.

At the same time, the Ibercaja Museum launches a nothing refined plan of commercial marketing in order to increase its visits… An operation as clumsy as completely disengaged from what is a serious cultural center and of some importance. It seems to increase visits “as possible” and “as possible” is achieved. But I am not going to insist on this issue, because the comparisons (currently still rather than visible) would be odious.


And we arrived to at present moment. Currently we are witnessing a very striking and unexpected impasse. After a new, much more coherent and do final(?) remodelling of spaces and collection, the now baptized as Goya Museum has opened its doors and offers significant news for anyone who has followed in recent years its origin and activity. Before this new issue, we prefer to follow the path of Thomas Aquinas with his constant search for the truth through the study of reality.

Naturally, from outside the deliberations of the new Board of Trustees are ignored, but cannot be very surprising and suggestive some remarks made in writing by the illustrious member of the previous Board (?), Mr. Hipólito Gómez de las Roces, State Attorney and closely related professional and friendly with Professor Camón Aznar and his family. Collaborator from the first moment of Proffesor Camón and man of his confidence, as well as his family, and a permanent member of the Board since its founding.

Statements published in “El Periódico de Aragón” that are a real accusation to the behaviour and attitude of Ibercaja to remove the name of Professor José Camón Aznar of his own Museum and collection, giving only the name of the so-called hall for temporary exhibitions of the now re-named Goya Museum, Ibercaja. Without informing the Board of Trustees and enabling one distinct and controlled by the own Ibercaja Bank. At the entrance of the aforementioned hall the topic is shipped face to the public with a small portrait in bronze of the donor, a Honorio García Condoy work, and a reminder plaque: “Thanks to D. José Camón Aznar, whose legacy is preserved in this museum. Ibercaja Obra Social.”

Feels stupor to read it, and those of Camón Aznar’s grandson, as well as the absolute silence that in response maintains the own Ibercaja and its foundation. For any neutral observer it appears as a great folly, unrelated of a museum that was born in 1979 after 36 years of record deserves a continuity more in keeping with the general interest, as well as that of both parties, and urgently needs a permanent deal that resolve quickly such a cultural split.

Because it is very true that Ibercaja has always behaved with prudence, generosity and knowledge make worthy of all praise; and over time has been introducing undeniable improvements that not only reiterate and justify its good intentions, but at all times have had the will to improve the quality and image of the set despite the difficulties, which there has been, to achieve this. And in addition, counting always with the Board, as it was signed at the first time.

On the other hand, the heirs of Professor Camón naturally have wanted and managed to retain the integrity of the collection, thanks to the generosity of Ibercaja -who accepted the initial conditions of Professor Camón, and in spite of being aware from the first moment of criticism more than reasoned, not a few of specialists and visitors of the Museum.

Accordingly, and to this day, in August 2015, seem well-founded reasons for Ibercaja when says that wants to strengthen the discourse on Goya and his environment, and when consistently gets its right by enriching the very numerous works of art displayed there, with other new funds from their property and Economic Society, and very important , by entrusting review of increased collection, as well as the study of the new additions and the drafting of an exhibition to a true specialist, rigorous and serious discourse as Professor Arturo Ansón, of great national and international prestige in the study of Goya.

Seems well-intentioned the idea of Ibercaja when calling so the Museum, although it still has not an accessible catalogue, trying to give an exhibition unit and anticipates that this will be the centre of reference of the pictorial and graphic work of Goya in Zaragoza. And as a first step adds 39 new contributions, not all of Goya but very useful some for his study, trying to round out the collection with works of the artistic heritage of the banking institution and the Economic Society, to cover which is called as “the legacy of Goya” until the 50s of the last century. Also provides it media training such as audio guides, tablets and guided tours of various types.

But they seem equally well-founded reasons for the family when Ibercaja says that the new Goya Museum opens with 500 works. Part of them (how many really?) from Camón legacy. The hurt and unanswered demand of the family and part of the previous Board seems also well founded, but I will not detail much more as may go to the aforementioned “Periódico de Aragón” for more details and its newspaper library. In any case, for the neutral spectator, the family and their relatives have compelling reasons. And cannot be ignored with a hand to the air without having its consequences.

So, what are the last reasons and the whys that have resulted in this breaking in relations so striking? Why this burying of the question? This thick silence on the key question: what was once a Museum and Institute of Humanities Camón Aznar, later Museum Ibercaja Camón Aznar and now, since on Thursday 26th February 2015 become Goya Museum, Ibercaja Collection. How a Board of Trustees has transmuted into another Board (now a foundation and before a Museum and Institute of Humanities) without the knowledge of the first… but with a great number of works of primitive legacy.

As wrote my admired Cardinal Ratzinger concerning a discordance of opinions, “my criticism about his work is tough, but for dialogue forms part directness; only thus can grow knowledge”.

It is clear that a sense of touch is missing, that there has not been nor directness nor enough diplomacy at the time of the reopening of the Museum after the last renovation. Seen from outside and without knowledge of domestic issues that perhaps could give and remove reasons, it remains to be an incomprehensible pity that relations that have traditionally been good has been broken. Intentionally or not, the truth is that the relationship has been very affected and the practical disappearance of the name of the donor/founder seems hard and poorly justified. Is it enough to put the name of Camón to a temporary exhibition hall, where are announced renewed high level contents? It will not be for the first two exhibitions there presented…




Perhaps has been able to influence the composition of a new Board of Trustees whose members are too far from the world of culture? Is missing in its bosom a counterweight certainly expert? As stated in the report of Transparency and Good Governance of the museums, by Commitment and Transparency Foundation, “it is important that Spanish museums develop codes of good governance and policies of collections and make them accessible via web as an exercise of transparency and accountability and safeguarding of assets who guard”. It adds that the information posted online by the museums must comply, according to this agency, with the principles of visibility, accessibility, up-to-date information and integrity (comprehensive and complete information).

And ends claiming in the elaboration of the boards “are not recommended to appoint as members of the governing body people exclusive because of his position, without taking into account their personal skills and technical skills”.

I can finally add that it is also possible that in the desire to prepare for the future, Ibercaja necessary remove and sort the collections and add, also, part of its artistic heritage, especially with works of the 20th century, and this question was not easy to treat. But this is a guess, not a certainty. And the time will be who give or remove reasons. But in any case, and while the matter is cleared up, it is logical that many people think what was claiming Goya, that reminding of Zaragoza, he said, “I burn alive”.

However, and despite all troubles, we must not forget that in this life everything has a solution. Even what seems more convoluted and impossible. And in this particular case what has been lacking has been the timely communication and agreement between the Board of Trustees of the Museum and Institute Camón Aznar and Ibercaja Bank. What happens, what is that must inevitably be deleted? It’s ignored, but talking is like things are solved. Reason why from here (a website called Real Goya) make vows to as soon as possible, is attained by a discreet approach between the two parties (the Ibercaja Bank Foundation on one side and the Camón family and their supporters on other); and it’s reached a meeting point, open to the public, which can only bring benefits for everyone, starting with the figure of Goya and Zaragoza, his hometown. We look forward impatiently its notice and the most successful futures.


Gonzalo de Diego

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