Yesterday, I had the privilege of walking through history at the Aljafería Palace, a monumental fortress that has long stood as a symbol of Zaragoza's rich past. Yet, for a limited time, it has been transformed into a sanctuary for the works of its most celebrated son, Francisco de Goya. The exhibition, "Goya, del Museo al Palacio," is an unparalleled opportunity to see a significant portion of the Museo de Zaragoza's collection while its home undergoes renovation. For a passionate admirer of art, it was a moving experience, an intimate conversation with a master who bridged the gap between the Old Masters and the dawn of modern art. The meticulous curation and the historic setting created an atmosphere of deep contemplation, allowing Goya's genius to shine in its native land.
Born in 1746 in the humble village of Fuendetodos, Francisco de Goya y Lucientes's life was a testament to his ambition and resilience. His early years were marked by a tenacious struggle to establish himself. He began his formal training at age 14 under the local painter José Luzán Martínez in Zaragoza, where he absorbed the conventions of the late Baroque and Rococo styles. He was a student of his master, but Goya was also a student of the world, copying the works of great artists like Velázquez and Rembrandt, whom he would later cite as his true masters. This formative period is beautifully represented in the exhibition, with early religious paintings like "The Consecration of St. Aloysius Gonzaga" and "St. Vincent Ferrer" that reflect the influence of his teacher.
His career trajectory was not a straightforward climb. After two failed attempts to gain admission to the prestigious Royal Academy of San Fernando in Madrid, Goya made a pivotal journey to Italy, the heart of the European art world. This trip, while leaving few documented works, undoubtedly broadened his artistic horizons. Upon his return to Spain, he gradually gained recognition, first for his frescoes in the Basilica of Our Lady of the Pillar in Zaragoza, and later as a designer of tapestries for the royal court in Madrid. This led to his appointment as a court painter, a position that would define much of his career.
The exhibition's layout follows this narrative arc, moving from Goya's early influences to his mature works. The Throne Room, with its grandeur, provides a fitting backdrop for the royal portraits, including the majestic figures of King Charles IV and Queen Maria Luisa of Parma. It is in these works that Goya's ability to transcend mere representation becomes evident. He captures not just the likeness of his subjects, but their very character, an unsparing realism that verges on caricature without sacrificing dignity.
However, for me, the most compelling part of the exhibition, and indeed my favourite piece, was a particular poster print titled "Portrait, presumed to be the artist, 1775." It is a stunning work, an early self-portrait that captures a moment of youthful optimism and determination. Unlike the later, darker self-portraits that would reflect the isolation and pessimism brought on by his debilitating illness in the 1790s, this image is a window into the artist on the cusp of his greatness. The confidence in his gaze, the directness with which he confronts the viewer, and the nascent signs of his masterful brushwork make this piece deeply personal and profoundly moving.
Following this chronological journey, the exhibition also delves into Goya's prolific and radical work as a printmaker. His deafness, a result of a mysterious illness, led him to retreat into a world of introspection and social critique. This is where the true modernity of Goya's art emerges. The complete albums of "Los Caprichos" and "Los Desastres de la Guerra" are on display, each page a searing indictment of human folly, war, and the abuses of power. The sheer emotional weight and technical brilliance of these etchings are breathtaking. Goya's ability to use the graphic medium to express such powerful emotions and political commentary solidified his legacy as a proto-modern artist.
To see these works, particularly my favourite self-portrait, within the ancient walls of the Aljafería Palace, was a unique experience. The exhibition is more than just a display of paintings; it is a historical dialogue, a conversation between an artist and his home, a monumental palace and a master of humanity. It left me with a renewed appreciation for Goya's artistry, his unwavering spirit, and his uncanny ability to capture the complexities of the human condition. Until next time!