Blog sobre Francisco de Goya. Espacio de amistad que aglutine a todos aquellos amigos de Goya o de lo que representa Goya, a la manera de un club on line.

Real Goya

Eduardo Salavera (Zaragoza, 1944 – 2016)

Person sensitive and especially attentive to what art looked around, never missing a demonstration, went to all exhibitions -even the inauguration if nothing prevented- and was elegant and positive in their opinions, that no judgments, about the work and the intention of others. He preferred to remain silent rather than point out.

I had the fortune to treat him personally because we had rediscovered in the seventies, recalling the old times of the sixties in the Academy of don Alejandro Cañada. I prepared Architecture and he the Fine Arts membership. He went to Barcelona and I did for Madrid… until meet us again a decade later in the common Zaragoza.

When, both retired, we saw each other at Isabel Bailo Gallery, owner, friend and excellent true seller, i.e., of which sold much and immediately paid the artist. A truthful gallerist, worthy heir to parental honesty and righteousness. Actually, the shamelessness of selling art and not pay the artist is, in addition to quite usual, as simple as stupid, poor artists, although they put the self-proclaimed “Gallery” clouds in a medium supposedly artistic as which has been usual in the provincial Zaragoza of the 80’s, 90’s and following. In the general atmosphere, as superficial as children’s opinions, have been repeating, wavily, generations of insolvent leaders of opinion and upstart’s chroniclers, non-stop to a long roster of mediocre subsidized. And thus looks it now the hair to the city in this bad time of general moral and economic crisis… in which fortunately has had to come from outside CaixaBank to teach us that it is right what here has spurned for years.

We used our good chats with a coffee and talked of Zaragoza, its artists and the so-called artistic “environment”. Then I wrote my essay on “Goya to the limit” and told him the encouragement coming from abroad from good friends like Jan Martens and Hal Robinson, MGIP colleagues (Motovun Group of International Publishers) as writes Jean Arcache, its current President and director of the editorial “Place des Editeurs“, Paris “first and foremost, is a group of friends who enjoy exceptional books editing“; as well as other major publishers and responsible for publications of major international museums. Personal satisfactions exclusively enjoyed from the intimacy and only entrusted to true friends. Eduardo was one of those few worthy of confidence; Finally, and after, as well as friend, was always very discreet and intelligent person… who knew capture the truth of the satisfaction of vocational duty, and distinguish it from the straw hack and fake from a trivial ego.

I used his super library books and even had the honour of receiving his gift of “The world of Goya in his drawings“, by don Enrique Lafuente Ferrari. Thank you, once more, Eduardo.


By the way, that in regard with Goya, used to discuss everything with him had relationship, in this homeland of the largest artist who gave Aragon. From the successes and failures of the initiatives and local exhibitions or the false attributions that, occasionally, intrepid collectors and interested people launch to the typical true-blue air of the area. Or the latest news that some specialist attributed to Goya without taking into account the impossible anatomy and very clear failures that this piece cries out to the world.

In short, a bit of everything, of worldly frivolity of a city like Zaragoza and also talks and greater shaft parcels. As to purpose of the light in the Zaragoza landscape Eduardo rightly pointed out the subtlety of grey and ochre in the palette of Goya and I encouraged him to write and make it public on the blog of “Realgoya“. But artists are reluctant to write about this kind of things. Also since years ago another painter, Jorge Gay, has my invitation to do so in about the goyesco roses… without result up to now.

Always interesting and juicy conversations about art and artists. Or organizers of exhibitions and art defenders (called latent creators) of individual experiences as a David Silvester, on the occasion of the exhibition of Francis Bacon in Madrid (Prado Museum). The same David Sylvester who in 1992, after twenty years of work, would present at the Grand Casino of Knokke (Belgium) the five volumes of the Catalogue Raisonné of Magritte. And to whose European presentation, under the auspices of the Menil Foundation in Houston, I had the honour to be invited.

Talks, changes of impressions, information back and forth, always active, enriching, entertaining and interesting that it would only frustrate Eduardo disease. I knew by him of health problems and we saw less each other, but we talked on the phone from time to time, although we were not from last Christmas, completed the great success of his exhibition at La Lonja.



Eduardo passed away on May 23 in Zaragoza.

What can I say? Salavera was a fine, educated and discreet guy who knew how to make a name in his hometown without fanfare or free poses; with simplicity and the truth of his painting at the front; with all the colour always bright even in paintings of the English coasts, in memory of visits and some summer next to his daughter living there. He was someone who had the fortune of going through life learning with curiosity of what was happening to his around and who has marched with the fulfilled duty. Also with him I learned that, to be a man fair and smart at maturity, you have to be able to give hope, that is the duty of graced with talent (Capote). Is there no mediocrity? How it won’t be, if we are imperfect, capricious and weak! And that, at maturity, the first question of any honest person is if you really believe that you deserve what you got. Salvador Sostres writes it and I subscribe it entirely.

There is that, might say, with the satisfaction that brings -at least- trying it honestly. With dominion. Thank you very much, Eduardo. How good would this world be if everyone did the same, in your way, with happiness and pride. With the same honesty and conscience, you did. We would all be better.

Rest in peace, friend. I think that you’ve won be in a good place.


Gonzalo de Diego

Goyescas by Enrique Granados • G&L6

Goya in literature 6


Goya and the music again. This time it’s a tribute in his centenary year to Maestro Enrique Granados and his work Goyescas, inspired in the figure of Don Francisco de Goya.


Enrique Granados y Campiña was born in Lerida on 27 July 1867. Fond of music since childhood, he began piano studies first with José Junceda and already in Barcelona, at the age of twelve, the master Pujol. In 1887 he goes to Paris where he continued his studies for two years under the direction of maestro Charles de Beriot. In 1889 he returned to Barcelona dedicating himself to the composition and the teaching of piano, becoming an important personality in the catalan art scene and founding in 1901 the Granados Academy, artistic focus of enormous influence whose line was then extended with figures like Rosa Sabater and Alicia de Larrocha.

Gifted with exquisite sensitivity and an unsurpassed elegance of ideas, his productions bear an unmistakable hallmark of grace, spontaneity and depth of feelings, especially in those of his works inspired by Spanish popular rhythms and melodic turns.

Goyescas, works for piano, was presented on 11 March 1911 at the Palau de la Música catalana.  The musician is inspired by the figure of Don Francisco de Goya, the painter of the nobility in their classrooms and aristocratic circles; Portrait of monarchs and actresses of farandulas; governors and valid; people joying in countryside environments; majos and majas lovers and gentles; intellectuals and philosophers of the enlightenment period; the traditional sphere and palace poses… And above all, Goya creator of the “Whims”, “Nonsense”, “Disasters of War” and the “Black Paintings”.

Truly goyesco musical themes are popular, in reference to tapestries and fabrics in which the instruments deployed its sound outdoor: “Dancing on the banks of the Manzanares”, “The blind man with the guitar”. We will now cite the words of master Granados on his work:

“I’ve had the joy of finding something great. The “Goyescas”, “Los majos enamorados” already carry much treaded. On their way along the path of truth, a portion of reptiles have been striking in the frog closures of the goyescas garments. Thanks to these creatures so low I’m perfecting me. I served as a point of comparison and without any effort I feel raise – me on them. Forgive”. “Goyescas is a work forever. At this point I am convinced”. “I have composed a collection of “Goyescas” of great flight and difficulty. They are my efforts to arrive. They say that I have arrived. I fell in love with the psychology of Goya; of his palette. He and the Duchess of Alba; its maja (nice) lady, of their models, their quarrels, loves and flattery. That white pink cheeks contrasting with lace and black velvet with frog closures; those bodies of rippling waists, hands of mother-of-Pearl and Jasmine guest houses on azabaches, they have upset me…”.

Goyescas El Pelele is distributed in two books and an independent El Pelele number. The titles are as follows: Los Requiebros, Coloquio en la Reja, Fandango de Candil, Quejas (Complaints), or La Maja y el Ruiseñor (The Maja and the Nightingale), El amor y la Muerte (Love and Death) and El Epílogo (Serenata del Espectro) (the Epilogue (Serenade of the Spectrum)).

The first part opens with Los Requiebros, of great technical importance. It’s a Jota, where rhythms are interspersed with projecting a fantasy and colourful. It is a display of the best contrapuntismo, bright to the peak. The large number of ornaments and ornamentation (trills, mordents, arabesques) suggest teachers such as Scarlatti, Padre Soler and Mateo Albéniz.

It contrasts the Coloquio en la reja, inspired by love and tragedy environment. Magnificent score in which triumph two aspects equally: the instrumental and vocal. It’s required to the interpreter a special sweetness to address these staves full of charm, more spirited, melancholy and sensuality… The master’s own indications make us reflect: “all the basses imitating the guitar”, “ternezza”, “legatto in bass notes” and especially reins “rubato”. We refer to the typically Spanish ‘rubato’, difficult in proportions, elegant but daring.

We are presented with the Fandango de Candil, based on the tune of the Currutacas modestas, as rhythmic dance full of harmonic wealth. The piano is twinned with the guitar, being always faithful to the elegance and consubstantial refinements in Granados. A beautiful melody expressive singing it sandwiched in the middle. The triplet clouds the rhythmic design of the piece, recalling the castanet soniquete.

Quejas, or La Maja y el Ruiseñor, is the most popular and perhaps the most inspired of all fragments. The numerous trills allow hear edges of the maja and the bird. The prevailing romanticism in the entire piece, leaves show through the great passionate tension. It can be considered true gem of the piano repertoire, for its high quality in the preparation and the way. We remember for their adequate interpretation a few indications of the own Granados: “with jealousy of women, not with sadness of the widow”.



el amor y la muerte • Francisco de Goya

219 X 152 MM.

Granados begins the second part of this collection inspired by the tremendous dialectic love/death, present in the Caprichos of Goya (the title of the number 10 is precisely Love and Death). Perhaps what most surprises us in these pages is the simplicity of form and so little ornate writing. However, the effects are employees with the best taste in the compilation of themes already previously used, extracted parts as discussed in this series. The point is that one in which the subject of the maja takes a painful accent. The indication is significant: “Very expressive and as happiness in pain”.

Finally, it appears the epilogue that encloses the Serenade of the Spectrum that forwards to the feverish fantasy of the last Goya. It is a mysterious “allegretto”, of ghostly intent in the verse. A pure-blooded, tonadillesco, skeletal, spectrum disappears to tuning the strings of his guitar…

Another admirable Goya stamp of Granados is El Pelele, works best as isolated piece that culmination of Goyescas, since his style breaks that soft and dramatic line of which we have spoken. Again shines the Tonadilla, and virtuosity and technical display here take the reins of this page full of bravery, brio and lighting effect that makes the clearest exponent of the maturity of a Granados consolidated.

This previous experience, leads to the composer, in collaboration with his friend and famous writer Fernando Periquet, to compose an opera that take advantage of the same musical material of the piano series, and whose libretto was also chaired by a goyesco environment. According to statements of Periquet and Granados, the main couple is inspired by the own Goya and the Duchess of Alba; Paquiro, bullfighter, is the Martincho that Goya painted in several sequences of La Tauromaquia, and Captain adheres to a character from the series Los Caprichos.

The premiere of the opera Goyescas, intended at first to the Opera of Paris, which was cancelled because of the war, premiered in New York on 28 January 1916 with great success, attended by expressly master Granados accompanied by his wife. There, a few days earlier, and only stepping in to fill a change of scene, was born the «Intermezzo», which was applauded development and had its own independent history as brilliant concert piece. Opera in three pictures ended however, as an unusual and exquisite guest of scenarios, even in their country.

When they returned to Spain, the boat they were travelling was torpe bombed by a German torpedo thus ending this intense creative life on 24 March 1916.


It only remains to sit down and listen to the music of Granados, pure pleasure.

(notes from Internet:)

. Enrique Granados, Goyescas. “Quejas o la maja y el ruiseñor“.

. The treasures of the library.

. Goyescas of Enrique Granados: Goya and Granados in unison).


Columbia 1957: directs Ataúlfo Argenta and sing Consuelo Rubio, Ana María Iriarte, Manuel Ausensi and Ginés Torrano.

Audivis Valois 1997?: directs Antoni Ros Marbá and sing María Bayo, Ramón Vargas, Enrique Baquerizo and Lola Casariego.



Silvia Pagliano

The sensitive mystery • Conversations waiting (and Part II)

Because for me there is no doubt that how Muti speaks of music can certainly be applied to the arts in general and specific work of Goya in particular, because I am convinced that this thought depressed the furrow of our time, by muddy it is, the same thing that did in the Spain of the late 18th century and early 19th. And I say this also for what I’m writing now in a forced subsection, well away from my will, to significantly lower tone of the hitherto transcribed. And I do so recalling a well-known Spanish philosopher -whose name I’d rather not to remember- specialized in so called emotional intelligence, who told me years ago (1997) with staggering emphatically that Art, after Picasso, had died. As would say the great Álvaro Delgado, to hear that I was stunned, looking at the world with chicken eyes. There was no way to convince him on the contrary and since that time I attended his so convinced as insensitive mistake, with a good dose of patience and forced benevolence. That left me baffled, invaded with a point of bitterness and stunned with such empty dare.

It’s been years, not less than eighteen, and the character still shines here and there in my country, in attitude of worldliness with identical and bold arrogance, but continues at least, unavailable to the controversy, sure of his mistakes and superbly self-absorbed, if you allow me the irony.


37 Si sabrá más el discípulo ? (Caprichos)
Aguafuerte, aguatinta y buril
218 x 153 mm.

Another thing is, however that, in 2016, says this veteran of the Spanish art of the 20th, Eduardo Arroyo, when he flatly says that contemporary art is a s… (sic), because it is neither art nor is anything. At least he knows, and very well, what he speaks. Theirs is not I pose; it is not overacting nor pedantic verbiage. He is not one of those that lift the little finger to the picture. This one does understand Muti very well, because has lived the same inside and knows, as the Italian, that Art today is waiting, and because has permanent doubt that still do not know how long will resist.

Ravasi dialogues with Muti and says: “the idea of waiting for a great composer seems very suggestive. I imagine him with a mysterious face, which some contours can be seen, however. The first is the possibility of presenting the profile of a man who has finally come to the absolute essentiality. A second aspect is the find a musical model that is perhaps very different from the 20th century, but somehow comes from the desert, from tabula rasa of the century that has just barely finished.

It is as if at a certain time, man had need of injury and almost destroyed (and the destruction of the musical tradition is a dramatic event, I have no doubt about this) to be back, nude, facing the pure Be. Ultimately, each waiting hides always the desire to reach the highest level, the last identity, gold that hold together the existing node and sense, feel”.


Muti: “at this time it is as if we were on a curve: we can’t see in front of us, but looking back we don’t need more. We have to wait, with the certainty that the great music (Great Art, I say) never comes only from the mind of man. The adagio of the second movement of the Tchaikovsky 5th, for example, is simple, but it is far from trivial. In fact, it has in itself something that seems downright divine. The whole life of Mozart, then, was crossed by these glares of absolute beauty. Contemporary music (and Art), on the other hand, with all the extravagance of its complexity and media, is like a river that flows into arena.”

Autorretrato con gorrilla

Today, January 2016, I believe that our great Goya, the deaf, had assisted delighted at this meeting. He would quite possibly have some kind of intervention. It is the great advantage; it is the wonder of listening to people who have much more than hair on their heads. People that do not deceive themselves and that tries, with simplicity but with creative audacity, listen to the heavenly music.


Gonzalo de Diego

Page 4 of 17

Powered by WordPress & Theme by Anders Norén