Specialists of the Prado museum, possibly hurried, «selecting» Authorship of the Goya painting «Colossus»

When in April last year representatives of the Prado Museum announced that famous canvas Francisco Goya (Francisco Goya) «Colossus» has been written is not this great master , and his little-known assistant Asensio Julia (Asencio Julia), the news caused a great resonance among scholars. In order to alleviate the universal outrage associated with the «demotion» paintings, museum workers Madrid promised to conduct a detailed study , which would leave no doubt that Goya is not the author of «Colossus».

At the end of January at the museum was published long-awaited Manuela Mena (Manuela Mena) , the curator of paintings of XVIII century. The main argument against authorship to Goya, is the absence of a signature on a canvas artist. In addition, as a result of scanning x-ray in the lower left corner of the paintings were found the initials «A. J.», which are believed to belong to the great painter Assistant Asensio Julia. However, such evidence still was not sufficiently substantiated.

In a report published on the site Prado enlarged fragment of the painting, which indeed can be discerned a few vague smears, which are only loosely could be called literary «A» and «J». In addition, it is well known that the old master paintings are usually put on his signature in full, but not limited to the initials. For example, the work «Shipwrecked» the same Asensio Julia signed full name, and the author's handwriting, has only a distant resemblance to the bone in the lower corner of stroke «Colossus», detected using X-ray. Thus, the only evidence - the alleged initials «A. J.», testifying in favor of authorship Asensio Julia, - not a particularly convincing.

All the other arguments are based on interpretation of style of work. For example, the report contains the Prado Museum claim that podmalevok «Colossus» not the same as in other paintings Goya, and the artist prepared his canvases in a different way. In addition, the cloth found pentimento - filled parts indicating the preliminary change of composition. According to experts from the Prado, Goya, the highest technical skill, and could hardly unlikely they would do. But do not forget that the artist is constantly experimenting with materials and styles, and also because these arguments are not sufficient reason to exclude the work of the creative legacy of the great painter.

It is clear that there is a need to establish an international committee which would be engaged in the preparation of the final catalog-reason Goya. This can be done by drawing on the experience of similar projects for two other highly prolific painters - Rembrandt and Rubens. And until the directory will not be prepared to make any definitive conclusions regarding the attribution «Colossus» is not entirely correct.

With confidence you can say that the very idea of such a monumental and awesome, as this giant is unlikely to belong to someone other than Goya. The composition and the concept of this work is undoubtedly a genius. Moreover, it is clear that they relate to other works of the prominent painter, created during the invasion of Napoleon in Spain. This can not be said about Asensio Julia, who is known, often copied works of his teacher. If the initials «A. J.» did belong to him, it is quite possible that he just was asked to create a copy of Goya paintings, which is in the list of works created during the lifetime of the author, entitled «giant». Only a thorough scientific study will help determine whether the picture of the Prado, or a copy of the original paintings of famous masters, which had been lost or destroyed.

material produced Catherine Onuchin

Sources: online.wsj.com , artinvestment.ru