User:Hannahbowen1998/La maja vestida

Revision as of 21:37, 8 June 2021
The Clothed Maja (Spanish: La maja vestida [la ˈmaxa βesˈtiða]) is a pendant painting by the Spanish painter Francisco de Goya between 1800 and 1805. It is a clothed version of the earlier La maja desnuda (1797–1800) and is exhibited next to it in the same room at the Prado Museum in Madrid.

The painting was first owned by Prime Minister Manuel de Godoy. It was twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Spanish Inquisition between 1814 and 1836, and has been in the Museo del Prado since 1901.

Identity of the model
The word maja is the feminine form of majo, a low class Spaniard of the 18th and 19th century. The model is identifiable as a maja by her costume, but her identity is not known; it has been suggested that she looks like Godoy's mistress Pepita Tudó.

My Revisions to the article
La maja vestida (English translation: The Clothed Maja) is an oil painting on canvas created between 1800-1807 by the Spanish Romantic painter and printmaker, Francisco Goya. It is a clothed version of the earlier La maja desnuda, created between 1795- 1800. The identity of the model and who they were commissioned by has never been confirmed. However, art historians and scholars have suggested she is María Cayetana de Silva, or Godoy's mistress, Pepita Tudó. The Clothed Maja was created during the peak of Romanticism, which lasted from 1800-1850. Basic characteristics of artwork during this era emphasized using emotion, connecting with nature, and the artist's imagination as inspiration for their work.

The paintings were never publicly exhibited during Goya's lifetime, so it is also unknown if they were created as pendant paintings, meaning to be displayed as a pair. However, since 1901 they have been exhibited together at the Museo Nacional del Prado in Madrid.[1] Beforehand, it was twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, before "sequestered" by the Spanish Inquisition between 1814 and 1836. The maja vestida and maja desunda were both first cited in an 1808 inventory, when Godoy's assets were seized by Ferdinand VII.

Background
The origins of both paintings are unclear, with some sources claiming they were commissioned by the Prime Minister Manuel de Godoy for his private collection. This claim would suggest the woman in the paintings to be Pepita Tudó, the mistress of Godoy. However, Lion Fuechtwanger, a Baravian novelist and playwright, cites in his book “Goya” (1951) that Godoy allegedly purchased both of the paintings from the heirs of María Cayetana de Silva, the 13th Duchess of Alba, after her passing in 1802. The Duchess and Goya allegedy had a passionate and prolonged affair which inspired him to create the two paintings.

The origins of both paintings are unclear, with some sources claiming they were commissioned by the Prime Minister Manuel de Godoy for his private collection. This claim would suggest the woman in the paintings to be Pepita Tudó, the mistress of Godoy. However, Lion Fuechtwanger, a Baravian novelist and playwright, cites in his book “Goya” (1951) that Godoy allegedly purchased both of the paintings from the heirs of María Cayetana de Silva, the 13th Duchess of Alba, after her passing in 1802. The Duchess of Alba and Goya were rumored to have a prolonged and passionate affair after being hired to commission a portrait of the Duchess. Evidence of their affair comes from personal letters written by Goya where he states, “Now I know how it feels to live. '' Another piece of evidence comes from a 1797 portrait where she is wearing two rings, one inscribed ‘Goya’ and the other ‘Alba’ on her hand pointing down towards a hidden inscription at her feet that says, “Only Goya.”

Description
The painting depicts a young woman reclining on a green divan with her hands behind her head. She is wearing a silky white garment that is belted at the waist with a pink ribbon, and on her shoulders she is wearing a cropped yellow jacket, the same color as her pointed shoes, with black detailing around the cuffs and chest. In comparison to the previous work, La maja desnuda, the subject is larger and almost does not fit entirely in the frame. It also appears more vibrant with noticeable blush on her cheeks and less precise with the brushstrokes, particularly in the background. The only other notable difference is the way her legs are posed. The vestida’s legs are straighter with her toes pointed.

Reception
The first written account of the vestida dates back to an 1808 inventory of Godoy’s assets after they were seized by Ferdinand VII. Frederic Quillet had been tasked by his commander, Joseph Bonaparte, to take inventory of Godoy’s private collection during the French Occupation in Spain. The vestida and desnuda were categorized as the Naked Gypsy/ Venus, and the "Clothed Gypsy/ Venus". They were considered by the French ruling class as, "obscene."