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"The Clothed Maja" №17991
Art. number: 17991
Description
The moment the paintings came to light, scholars strove to confirm that the duchess of Alba was their model. French authors in particular—Louis Viardot and Charles Baudelaire, for instance—endorsed this tale, believing the image to be that of an aristocrat dressed as an Andalusian maja, then considered the perfect incarnation of Spain and the soul of majismo. But close observation reveals inaccuracies of dress that have little to do with any known Andalusian attire, even that of a maja. Like the Maja vestida, this clothed one reclines on a divan, her hands crossed behind her head, and looks out at the observer. Although she is called a maja, she is not wearing the characteristic attire of women of this plebeian class, whom Goya frequently drew or painted and of whose dress he possessed very precise knowledge. She displays neither the traditional basquina nor the usual hair arrangement: she wears neither hair netting nor mantilla. Her body is clothed in a white chemise, cinched at the waist by a broad sash. The little jacket she wears is not the characteristic jubon, the bodice seen on the maja in the foreground of The Meadow of San Isidro, but rather a different item of clothing loosely based on it. Her shoes have pointed toes, better suited to a lady than a maja; the majas preferred square-toed shoes with silver buckles. Given these discrepancies, it is worth noting that early commentators on the painting did not see in the model a maja at all, but rather a "Clothed Venus" or a "Gypsy"
After all, the scandal with the naked woman painted by the artist continued until the twentieth century. And most of all because they had long and wrongly assumed that the painted beauty was Duchess de Alba and that Goya wanted to reveal to the world that she was his. According to art historians, the legend is obviously due to the fact that the lady has bought the artist "The Naked Maja" and "The Clothed Maja" to divert the view of the Inquisition from them.
At the time of Goya, the decree still applies, punishing with fine and exile any painter who painted naked bodies. The artists point out that this is a woman of the people, with whom the artist has not experienced any shyness. The legend tells that when the maestro accepted deba Alba in his atelier and allowed volition, he always closed the statue of the Virgin Mary del Pilar with the cover. The relationship between Francisco and the beauty gradually diminishes, but they both retain their mutual feelings of affection and respect.
Reproduction is a high-quality print, on an Italian eco ink canvas. The canvas is folded over the back, arranged and framed with a luxury frame.
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