The purpose of this website is to prove, without any doubt, by scientific methods, modern computer optical recognition technology, laboratory research and the most modern techniques of analysis, that Goya not only signed his paintings in the usual way, but that all of his work is really permeated by his miniature signatures, monograms and symbols.
It was a special Goya technique for his brilliant artistic expression and also in this way he ensured irrefutable authorship of his works.
Goya was a genius predecessor of" steganography", which refers to the science of hiding messages in images. In his case, these are the proper four letters of the signature " G-O-Y-A."
And finally, an impartial, objective, irrefutably tested technology of the 21st century of DIGITAL authentication became available!
The terms "thesis", "hypothesis", "theory" or even "contradiction", when it comes to the existence of miniature signatures of Goya embedded in his original works, become obsolete because they are no longer applied. The actual existence of such hidden signatures is scientifically proven fact!
This modern technology is also used to detect fakes, forgeries and imitations of the brilliant works of Francisco de Goya.
This processing system is fully automated computational analysis has been tested on recent and past official authentication and officially certified the works of Goya.
As a result, she finally discredited the established tactic of denying the world the results of research on Goya in the Prado Museum.
This modern 21st century identification technology, which is a scientific and computerized system, has been applied to the classic paintings of Goya currently in the El Prado Museum. All these famous paintings of Goya were positively re - confirmed in authenticity by this undeniable method.
"Scientific method" in comparison with " subjective method by eye"
About the "scientific method" and "subjective method by eye": no term defines exactly where the separation between the two methods takes place, since both
use the tools which are used in the other. Both use chemical analysis, x-rays and historical research through written records pertaining to the Goya. In addition, everyone uses the same lists of famous works of Goya, starting from the time after the death of Goya, when his works were sold by his heirs.What is even more worrying and attracting particular attention is the current situation between the two camps, one inside and one outside the Prado Museum.
There is a strong tension and dissatisfaction among the owners of the paintings, which probably belong to the authorship of Goya, but who face enormous obstacles when it comes to their acceptance and recognition in the world ; and that a profitable, high-paying auctions, is pressuring the obtaining and use of new and advanced authentication tools, which can displace the monopoly of the authentication based on the opinions of two specific Goya experts: Goya curator - Manuela MENA Marquez has long been known authenticator of the works of Goya Juliet Wilson Barro.
The situation on" new " Goya's works.
Without the strong support of provenance, which ironically proves the origin, any picture is either rejected or remains for future consideration by other institutes and researchers. Unfortunately, there is now a tendency to sensationally discredit all the Goya paintings that are provided for research in the Prado, instead of really analyze and identify the unknown works of Goya and add them to the list of famous works of Goya.
Perhaps this is a reflection of the tension in Western museums in General, where fakes sometimes surface, and disgrace and devalue the name of not only Museum staff, but also well-known art dealers, which are the source of most of the financial support, which is held such an expensive enterprise as a Museum. There is also a struggle and a lot of disputes over the property rights of art objects, which may not have entered the Museum's collection through proven official bodies, but that's another story.
Professor Antonio Perales. Probably the leading person in the" Goya graphism " authentication method. Using conventional technical analysis tools, Perales added to that comprehensive efforts at understanding and recognition of "hidden" signatures of Goya, which are found on many of the recognized (and unrecognized) the works of Goya.
Unfortunately, Professor Perales recently died, but his efforts as a long - respected restorer, and then as a specialist in authentication, have had a great impact on how the battle between the experts of the Prado and those who are equal to the authority of the Spanish Academies and art circles outside the Museum system.
With great pain, we honor the loss of Professor Antonio Perales Martinez.
We also face similar pain in the aftermath of the disappearance of the most representative public figure against the abuse, inflection, negligence and apparent incompetence of those who persistently and against all conceivable evidence and evidence insist on denying the accuracy and credibility of Professor Perales ' findings.
Whether retrogrades, archaic minds and fact deniers (infamously represented by one man from El Prado - Mrs. MENA) are really going to "win" over the mind and over the modern scientific way of distinguishing the real works of Goya, and will deny the irrefutable physical evidence, etc. just because the most active and passionate defender of Goya
When will the Spanish Intelligentsia, academia and even representatives of the government of Spanish cultural heritage finally come to public display the scientific methods of the twenty-first century?
Unfortunately, if we don't keep alive all the work and the open truth of Professor Perales , then the "antiquated crowned heads" of the master of all things Goya at El Prado will probably rejoice. And the world will weep silently with the man who heralded the greatness of Goya with the unique method of self-authentication, as well as weeping over the loss of many still unknown masterpieces and yet unseen paintings by one of the greatest and most representative of the Spanish old masters, Francisco josé de Goya.
There are many cases in the history of mankind in which advanced thinkers and pioneers did not see recognition or success in their life on their findings or discoveries. History also shows us that, in the end, they all did it.
Even in times of undeserved discrediting, they still say,"... and all the same..IT's moving ...!
In the 21st century, it is logical, reasonable, and appropriate to use 21st century techniques to correctly identify precious, one-of-a-kind paintings.
In the case of Goya's paintings, as incredible as it may seem, Sotheby's and Christie rely only on the opinion of two separate persons, which is proven many times, but only clearly wrong. The erroneous, subjective, and reprehensible "on-the-eye" method for these auction houses is more "reliable" more "trustworthy" than all the 21st century modern technologies they unreasonably refuse to accept.
All at the expense and expense of the legitimate owners and their customers who are exposed to acquire useless fakes. All this could be a very likely cause of potential legal action against these "unipolar" auction houses. And it won't be the first time!
Let's not forget that both auction houses and their respective chairmen have repeatedly come under trial, were found guilty, convicted and fined hundreds, or rather 517 million dollars for the collusion of price fixing and fraud.
There is a very remarkable fact that it is the official team of restorers of the El Prado Museum, directly in their own premises, under strict supervision and during the cleaning of two famous paintings by Goya, suddenly found, or rather opened, the presence of a mini-signature Goya, which is cleverly hidden on the blade of a knife, which gives this event an undeniable extraordinary relevance.
So far, Goya - Manuela MENA's curator from Prado has consistently denied, disparaged, criticized, and even tried to deride the idea of such mini-signatures by expressing the following thought about them, here are her exact words: "to believe in the existence of micro-signatures is madness" - and she stressed -. "True madness." But who would have thought that her own team to the Prado, which so blatantly, although unintentionally, prove her wrong!
Professor Antonio Perales asked very persistently and for many years that Biel Prado took any of the Goya's paintings and subjected it to a thorough analysis.
The Prado Museum has always refused to do this.
Only by a Fluke or just a matter of fate, this strange sick argument is now over!
in the image below-Goya's picture "La Carga de los Mamelucos" (red circlethe location of the discovered Goya signature is circled)
A small hidden signature of Goya, was accidentally found on the blade of a knife (see red circle), while in the process of cleaning the restorers of the El Prado Museum were engaged in the removal of darkened varnish. Four restoration experts (Elsa Mora,Enrique Quintana, Camara Quintanilla, together with the technical research Department of the Museo del Prado and Goya Carmen Garrido expert.
February 28, 2008 the Prado Museum shared with the world the exceptional news on the national Spanish television network (R-TVE) cable and satellite. This Grand find confirms the truth and solves the long-discussed topic of controversial miniature signatures of Goya, which were applied by the Spanish old master Goya in unusual, hidden places in the picture.
in the image below, the location of Goya's signature is highlighted with a yellow rectangle
in the red rectangle there is an enlarged area with the Goya signature
the image below shows a larger area with a Goya signature (the outline caption itself is marked with black dots for better visibility)
the text in the image above Is a mini signature of Goya hidden on the blade of a knife.
The irrefutable, incontrovertible final proof of the existence of Goya's mini-signatures in his ingenious “self-authentication” method, which Professor Antonio Perales discovered. It's ironic, but until now the El Prado Museum Itself has been a major opponent and a denier of the existence of mini-signatures.
The release of such irrefutable evidence removed all remaining doubts and confirmed the reality of the existence of mini-signatures.
in the image below — picture of Goya, "Retrato de la Condesa Fernan Nunez" (the red circle indicates the location of the discovered signatures Goya)
the image below shows a larger area labeled Goya
left area with the signature Goya
on the right-Goya's signature along the contour is marked with red dots for better visibility
in the image below — Goya's picture "Don Manuel Osorio Manrique de Zuniga" (red circle shows the location of the discovered signature of Goya)
the image below shows a larger area labeled Goya
in the image below — Goya's picture "Retrato de Antonio Maria Esquivel" (the red circle shows the location of the discovered signature of Goya)
in the image below is a section of Goya's painting "Los Fusilamientos del 3 de Mayo" 1808(the red square is the location of the discovered Goya's signature)
the image below shows a larger area labeled Goya
left area with the signature Goya
on the right-Goya's signature on the contour is marked in red for better visibility
in the image below-Goya's picture " Pavo Muerto (Dead Turkey) "(white circles outline the location of the discovered signature of Goya)
in the image below —
on the left-area № 2 with the image of " man with a beard»
right-area 3 - discovered Goya signature
Work with a picture of Goya with the help of Terahertz waves.
C. Seco-Martorell, V. López-Domínguez, G. Arauz-Garofalo, A. Redo-Sanchez, J. Palacios, and J. Tejada
1. Department of fundamental physics, faculty of Physics, University of Barcelona, c. Martí i Franquès 1, Planta 4, Edifici Nou, 08028 Barcelona, Spain
2. Zomega Terahertz Corporation, East Greenbush, NY 12061, USA(От: 14 мая 2013 г.)
In this work we use a system of terahertz (THz) equipment for the shooting and analysis of the structure of the artwork attributed to the Spanish artist Goya written in 1771 . Terahertz images show features that cannot be seen in the optical range or by x-rays. For example, the inscription on the painting with
a strong resemblance to one of Goya's famous signatures . This inscription became possible to see only by shooting in the Terahertz spectrum, while other methods did not reveal anything.
This article shows the possibility of using images obtained with the help of terahertz equipment in the field of authentication and determination of characteristics of works of art. This can be important in cases where both the signatures and the specific features that are crucial to the authenticity of the artwork remain hidden in the visible, infrared , or x-ray spectra.
Terahertz (THz) radiation covers part of the electromagnetic spectrum between the microwave and far infrared bands (from 0.1 to 10 THz). Thzs are widely studied as a tool for spectroscopy in the security and pharmaceutical industries. THz waves are also used as non-destructive evaluation tool because they can penetrate most materials, such as plastic, paper,cardboard, canvas, and textiles, and their short wavelength allow generating images with spatial resolution in the order of mm to sub mm. For example, the THz imaging method is used to study defects in insulation materials, composite materials, as well as in medical research for cancer diagnosis. These features make THz technologies particularly interesting in the field of cultural heritage research.
The use of terahertz radiation in the field of cultural heritage research began in the late 1990s.however, only in the last few years , many researchers have begun to apply this technology more widely, for example, for the study of Egyptian papyrus, THz spectroscopy of ancient pigments, as well as THz shooting and analysis of layers of paintings and archaeological sites. In this work we use the THz system to take pictures and analyze the structure of the famous Work "the sacrifice of Vesta" by the Spanish artist Francisco de Goya (Fuendetodos 1746 - Bordeaux 1828) in 1771 . In particular, this study demonstrates the potential of THz technology to verify the authenticity of works of art by identifying hidden signatures that are not detected by other means such as optical, x-ray or infrared spectrum. For research we
we use a commercial THz system - Mini-Z manufactured by Zomega Terahertsz Corporation (USA), which can be used both for image processing and for spectroscopy of paint pigments.
the image below is a painting by Goya "the Sacrifice to Vesta" "Sacrifice to Vesta»
a) the picture in the visible spectrum
b) painting in 50% of the THz spectrum
c) 100% Terahertz spectrum picture
On the image below-a picture with the help of terahertz equipment(revealed the signature of Goya)