Posts tagged ‘Duchess of Alba’
March 1, 2017
Fionnuala Brennan’s novel about Francisco de Goya takes the fresh approach of telling the artist’s story through those of the important women in his life. Who were these women, and what was their relationship to the great painter?
Rosario, Goya’s loyal but conflicted daughter
On the eve of her father’s burial, Rosario keeps vigil by his bedside, spending the hours talking to him before she loses him forever. Affectionately known as “his little ladybird”, Rosario and de Goya had been very close and so, on this night, she is desperate to leave nothing unsaid.
Yet, already distraught by his death, young Rosario also has to cope with being de Goya’s illegitimate daughter, ostracised by the rest of his family. As night turns to day, Rosario’s fear for the future grows more intense. Without her father’s protection, how will she and her mother, Leocadia, survive? Can she trust de Goya’s promises to provide for them despite the antagonism of his legitimate family members?
Feeling guilty for doubting her father’s word, Rosario determines to keep the promise she made to him before his passing. But can she succeed in doing so, in the midst of the chaos that follows de Goya’s death?
“Swear to me that nobody will dictate the art you will make. And when the day comes when you know you are good enough, then use my name. But not until then.”
Gumersinda, the spiteful daughter-in-law
“Opportunist, adulterer, collaborator! I know that one should not speak ill of the dead, but I do not care.”
Money, respectability and status; for Gumersinda, these are sacrosanct. Her father-in-law, however, appears to defy these values at every opportunity.
Rumours of infidelities with models and rich patrons, of his relationships with servants and his spawning of illegitimate heirs do not appear to ruffle him. Nor does he see the hypocrisy between his political paintings and his political actions. But Gumersinda cares. And she will not stand for de Goya jeopardising her, or her son’s, reputation anymore.
When she is called away from her comfortable life in Spain to attend to her dying father-in-law, Gumersinda is annoyed with Javier, her husband. He is blind to his father’s faults and has never caught on to Gumersinda’s dislike of the man.
However, seizing the opportunity she has unwittingly been given, Gumersinda resolves to save the dignity of her family before de Goya’s mistress, Leocadia, can cause any more harm.
Leocadia, Goya’s frustrated companion and mother of Rosario
Fleeing an unhappy marriage and with a son to support, Leocadia first met the widowed de Goya when she applied to be his housekeeper. Over time, they became lovers and their daughter, Rosario, was born. Due to the scandalous nature of their relationship, neither Leocadia nor Rosario could ever receive recognition as de Goya’s family which left Leocadia feeling like an object of shame, hidden away in de Goya’s house.
“Everybody here knows that I was his wife – in all but name.”
For Leocadia, de Goya has never appreciated the sacrifices she made to be with him nor has he always been kind to her. He directed his passion and energy towards his art and his tenderness to his children and grandchildren, yet for Leocadia, all her efforts led to were loud arguments and stormy exits. Even the memory of his deceased wife, Josefa, loomed like a spectre in their relationship.
But now that de Goya has died, will Leocadia finally receive some token of appreciation from him? Can Leocadia now emerge from the shadows of Goya’s life and earn the respect she deserves?
Josefa, the long-suffering wife
Confined to her deathbed, Josefa spends her remaining days looking back on her marriage to the fiercely proud and temperamental Goya. Marrying into a respected and well-connected family was of great advantage to Goya, yet for Josefa it produced a string of tragic pregnancies which left her feeling voiceless and alone.
“I was stricken with a sickness of mind and body worse than the plague. There was no hope, no reason for me to go on breathing”
A sympathetic response was all Josefa desired but proved difficult to achieve when having to compete with Goya’s art – and his female models – for his attention.
As she approaches the end of her life, Josefa wishes to make de Goya hear the truth about their marriage, about the ways she suffered.
Can she at last cease vying for Goya’s attention and get the respect she deserves? Yet if there was any love in their marriage, will it fully reveal itself now before it’s too late?
Duchess of Alba, Goya’s fiery patron
Beautiful and intelligent, the Duchess of Alba does not lack confidence in her abilities. When she sets her sights on something – or someone – she normally gets her way. If this makes her endearing to men, it bristles the women she takes them from.
In an effort to rile another woman, the Duchess summons Goya to her home to paint a number of portraits for her. Goya’s arrogant nature vexes the Duchess at first but, to her surprise, she finds herself wanting him nonetheless.
“In truth I am fascinated by this uncouth artist. I ask myself why this is so and have to admit that it is simply because he appears so impenetrable, contradictory and, most exasperating of all, unattainable. He has become my challenge.”
Widely revered for her beauty and skilled at the art of seduction, the Duchess feels a certain power over the artist she has employed. But Goya is headstrong too. Will her flirtation with the artist succeed or has she met her match in Goya?
Dolores, a naïve artist’s model who gets a hard lesson in life
Working as a maid in the Duchess of Alba’s home, Dolores thought she knew exactly how her life would turn out; she would follow the rules, marry a man of her rank and have a family of her own. However, the normal and secure life Dolores foresaw is utterly changed after a strange artist is summoned to paint the Duchess. Intrigued by the young servant, de Goya asks for her to model for him and introduces her to a life Dolores would never have expected.
“I could hardly wait to find out what being a model for an artist meant. I also wondered why there had to be so much secrecy about it. I was soon to find out.”
Duchess of Osuna, another aristocratic patron
“María Josefa has a great many talents and gifts. So elegant, so learned, so accomplished.”
As an artist, de Goya relied on the regular and loyal patronage of a number of Spain’s wealthy elite. His status as the Court Painter and his reputation for being one of Spain’s leading painters of the day helped him receive more commissions. Of these many aristocratic patrons, one of the most fervent was the Duchess of Osuna.
As with many of de Goya’s models – and to the detriment of Josefa and Leocadia – rumours swirled as to whether the two enjoyed a strictly business relationship.
Queen María Luisa
The queen of Spain was another of Goya’s patrons and was fond of horse-riding, as seen in her portrait here. According to the Duchess of Alba, Queen María Luisa was suspected of having a relationship with the prime minister, Don Manuel Godoy.
“Despite the torture she endured while Goya painted her, the lump of lard was apparently very pleased with the finished work, and especially with the portrayal of Marcial, a present from Godoy and thus her favourite horse. Her Majesty was also delighted with the progress of another big painting on which Goya was engaged – a group portrait of the entire Royal Family.”
November 5, 2016
“To my mind, Goya is one of the most enigmatic and influential painters in the history of art. In the novel I wanted to explore behind the scenes, to discover something more of the man and of his work. What better perspective to obtain than that of the women who were closest to him in his life? As they lived with Goya at different stages of his long and turbulent career, they have lot to say about the private character of the great artist as well as being able to tell us the background to some of his most famous art works.
Thus, to get a closer view of Francisco de Goya, I chose to create, to listen to, the voices of six women who knew him very well. One of them is the famous Duchess of Alba, feisty, flighty and fabulously wealthy. She appears more than any other woman in Goya’s art. There was much juicy gossip and speculation as to the nature of their relationship. This gossip finds a possible source in Goya’s portraits of the Duchess, especially the portrait in which the Duchess is painted in the black costume of a maja. She is standing on a sandy shore, her right hand points to an inscription in the sand, Solo Goya. On her fingers are two rings, a diamond ring bearing the name Alba and the other a gold ring inscribed Goya.
Maybe there is some truth in the rumours, or maybe not...”
July 25, 2016
Fionnuala Brennan: I studied Art History at Trinity College Dublin, so I was of course aware of the importance of Goya in European art history. Years after I graduated, I saw an exhibition of his Disasters of War etchings (Los desastres de la guerra) and that is when my fascination grew.
Here was a Court Painter in late 18th and early 19th century Spain who had painted formal portraits of Wellington, as well as of King Charles IV and Queen Maria Luisa on horseback, and yet who saw nothing glorious or triumphant in war, who depicted the cruelty and inhumanity so movingly in these small etchings. To my mind, he is one of the first and certainly one of the most influential anti-war artists. Picasso followed in these footsteps.
I went to the Prado and was struck again by his “Black Paintings”; the ones he made for himself on the walls of his country house, Quinta del Sordo, manifesting his despair of human nature. Before that, he had published his wonderfully satirical Caprichos. I went to the British Museum to see some of the originals. The society artist who mocks the hypocrisy and superstition in Spanish society – what a fascinating and enigmatic character!
JM: Why did you choose the point of view of the women in the painter’s life to reveal his character?
FB: I did not want to write a straight biography, however fictionalised, of Goya. I decided that one can learn more from slanted observation than from full frontal, as it were. And who better to have witnessed Goya’s career than the women closest to him? They can show us how he worked, what personal matters troubled or elated him, and what he thought about some of his patrons.
JM: Following on from the previous question, there seems to be an endless desire for historical novels like yours, which are often called biographical fiction, in which a fictional story is woven around illustrious figures from the past in the worlds of literature or art. I’m thinking of Tracy Chevalier’s 1999 novel The Girl with the Pearl Earring to 2011’s bestselling The Paris Wife by Paula McLain or 2014’s Mrs. Hemingway by Naomi Wood. Why do you think we like to read these types of stories?
FB: I think we enjoy biographical fiction because it is less dense and certainly less restricted than non-fiction biographies. Because it has poetic license to look behind the bald facts. Because it is the work of the informed imagination.
JM: How did you approach the historical research that is so important to your novel? I’m interested in how you strike the balance between fact and fiction: How much of the story is based around actual events and how much is the product of your imagination? Likewise the personalities you’ve given the women.
FB: Of course, I read and consulted widely to be sure of the historical events and of the dates and circumstances of Goya’s artistic output. I was always interested in trying to look as deeply as one could into the enigmatic nature of the man. I was also interested in his techniques, how he painted and etched. His letters to his lifelong friend, Martin Zapater, told me a lot. The actual events of his life, such as his commissions, his role as Court Painter, the dates of his works, his marriage, the names of five of the six women in the novel, his residences, as well as the historical events in Spain at that time are all factual.
Five of the painter’s women existed. Apart from the Duchess of Alba, however, we know very little apart from their names about the other four women. I invented Dolores, the sixth woman, in order to place her as the face of The Naked Maja and also to link Goya’s time with the Duchess of Alba in Andalusia in 1796-1797 with his fictional re-appearance in her life during the period of her illness and death in 1802.
Regarding the personalities of the women… I imagined a great deal, but based some of my characterisation on real life events. In the case of his wife Josefa, five of whose children died in infancy, such events must have greatly distressed her, as indeed they did Goya. The row he had with her brother, his first mentor, must also have been a source of distress. His reputed affairs may have disturbed her, as well as his long absence in Andalusia with the Duchess of Alba.
His mistress Leocadia was reputedly sharp-tongued. I imagined what it must have been like to have lived with a much older, difficult, deaf man and not to be accepted as his wife, nor her daughter Rosario recognised as his. According to the date she left her husband and went to live with Goya, it would certainly seem that the child was most likely his.
The character of his daughter-in-law Gumersinda is a work of my imagination. I looked at Goya’s picture of her and concluded that she was, as we say in Ireland, some piece of work. Greedy, jealous, ambitious for her husband Javier and son Mariano.
JM: The novel opens and closes with the voice of Goya’s alleged illegitimate daughter, Rosario, also a painter although lesser known. Why did you decide to bookend the story with her?
FB: Although Goya seemed to have been a courageous man, unafraid to satirize Spanish society and unflattering of his royal patrons, who mixed with the men of the Enlightenment and who was brought before the Inquisition because of his painting The Naked Maja, he had feet of clay with regard to his second family. He did not seem to have made provision for the welfare of Leocadia or of Rosario after his death, leaving everything, as far as I could ascertain, to his son Javier and grandson Mariano. I wanted to open the book with his final illness and death during which his daughter Rosario and his mistress Leocadia were his constant companions and support and to finish it with the subsequent fate of these two women, especially Rosario. This exemplifies the statement which ends the novel: “This world is a masquerade… Everyone wants to appear what he is not, each deluding the other and not even knowing himself.”
It is not possible to fully know anyone else, as we do not even fully know ourselves. So biographies, whether fictionalised or not, while casting some light on their subjects, still look through a dark or misty glass.
JM: I read somewhere that it can be difficult to put into prose the sensations that art evokes without sounding, on one hand, too precious or, on the other, too textbook. Paintings are meant to be seen to be appreciated, not read about. But your descriptions of the masterpieces he created as a result of knowing these women, or sometimes in spite of knowing them, are engaging. Did you have any concerns about this going in?
FB: This question is a bit more difficult to answer. I believe firmly that ideally paintings are meant to be seen, not read about. However, not everyone can see the paintings in the place for which they were painted, as in churches, or can go to the art galleries where they hang, so the only way they can experience the works is in art books and in the words of art critics. Also, in my novel Goya’s works are described by the women who saw them being made, so that the methods he used and the atmosphere in which he worked show us a good deal about the works themselves.
JM: Are you working on something new at the moment and, if so, can you reveal anything about it?
FB: I have just finished a book of short stories entitled Islanders, and I am writing another novel, not biographical fiction this time. It’s set more or less in the present and is in the first draft stage.
September 30, 2015
The Duchess of Alba
San Lúcar, March 1797
There he is, the arrogant fellow standing in front of me holding his palette like a shield, wielding his brush like a dagger. Totally ignoring my displeasure. Who on earth does he think he is?
‘Excellencia, Maria del Pilar Teresa Cayetana de Silva y Alvarez de Toledo, 13th Duchess of Alba,’ he is saying sarcastically, as if nothing has happened, ‘why so churlish this morning? Please assume your pose. Let us proceed with the portrait. You can stop stamping your dainty silver shoe and take your hands off your wasp waist if you please. It looks so aggressive. Surely you do not want to have the whole world see this side of you?’
Oh, how he infuriates me! I want to wipe that mocking smile off his face.
‘I am incensed Señor Goya because you are a treacherous snake. And an obtuse one. How can you think for one moment that I can pose for you who have spent the night disporting himself with one of my servants?’
Insolently he raises his penetrating black eyes and looks at me as at a child in a tantrum. Such a cool, detached, ironic, fearless look.
‘My dear Duchess, I am surprised. You are jealous! And you call me treacherous. You, who have more dalliances than all the ladies of the Court together. You, who have taken so many lovers; actors, toreros, young students even. You, who have invited me here to this secluded place, although you are so newly widowed.’
I could strike his podgy face. I want to wrench away his palette and brushes. I have a mind to throw a jug of water over that portrait. But I do nothing. I sit there with my mouth open and my eyes blazing. Why do I not order him to leave San Lúcar at once? Can it be that I am afraid to cross this impudent commoner who has vastly overstepped the bounds of his social position? Nobody speaks to the Duchess of Alba as he has just done. Especially not such an old and ugly man, who is as deaf as a bedpost.
‘Excellencia,’ he says dryly, ‘your face is twisted and sour. I shall paint you as a termagant if you so wish. Now, please readjust your mantilla. You should also tighten the sash. Good. Now place one hand on your waist and point the other to the ground.’
I obey but refuse to smile. He continues painting, a smug look on his face. I stand there like a sullen rebuked child and I ask myself once again how is it that I have allowed this man to become so familiar. To order me about like a servant. While I am standing in the pose he had commanded, I remember the first time I went to his studio in Madrid. I had heard of his liking for the bizarre, for the erotic. And I also knew that his work is admired by that old trout Maria Louisa, who fancies herself as an artist. So I had several motives for wishing to meet Don Francisco Goya. The portly creature, Maria Louisa, calls me a bag of bones. It was wonderful to hear how furious she was when I ordered a dozen copies of her latest French dresses and gave them to my servants to wear. Revenge is so sweet.
When I entered his studio he was standing at an easel with his brush.
He did not turn around. I remembered then that I had also heard that he had become deaf so I had to walk right up and stand in front of him and repeat myself. I told him to make up my face with the cosmetics I had brought with me. I did not fully understand why I wanted him to do that, to touch my face. It was not only because I had heard also that he was arrogant and I wanted to put him down, to show him my power. Commanding a great painter, so sought after, to be a lady’s maid. If he was surprised by such a request, he did not show it. I have learned since then that it not at all easy to read Don Francisco de Goya. He motioned me to repeat what I had said more slowly, then smiled in an annoyingly knowing way, as if he could also read the real reason. Without a word, he took the bag of cosmetics from me. He darkened my eyebrows like two black bridges, drew lines of kohl around my eyes, rubbed rouge into my cheeks, and dusted powder over my whole face until I sneezed. It was like he was playing with a doll. And all the time he held my face in his hands and a small smile turned up his full lips. He was humouring me, I realised, as a parent humours a silly child, or a lover cajoles a petulant woman. I, who had come to command him, had been reduced to childishness. It was then that I determined that I would have my revenge on him too, that I would enslave the insolent fellow. I would exercise the full strength of my charm and beauty on him. I realised that if I was to have power over this man, it could not be wielded simply because I am an aristocrat. However, I reassured myself that the task should not be too difficult. At that time I was still a beautiful woman of thirty-three, while he was low-born, at least fifty, rough-looking, and deaf. Not that it matters to me if a man is high or low born, as long as he is handsome and fascinates me.
After that first visit to his studio, I invited Señor Goya to Buenavista and commissioned him to paint a portrait of José and another of myself. For that portrait, I chose a deceptively simple white dress adorned with my favourite red – a deep wide sash to show off my waist, a red bow on my breast, and another pinned on my hair. I even tied a red ribbon on the leg of my little dog at my feet. I know about colour too. The meaning of red.
But my plan of entrapment did not work as smoothly, or as quickly, as I had thought. Most men on whom I cast my eye succumbed very quickly and I do not believe it was only because of who I am. I know that when I pass by in the streets of Madrid people run to their windows to catch a glimpse of me. I am not blind. But this Goya fellow seems blind to my charms. He continues to treat me like a spoilt child. I am not a silly woman without a brain in my head. The most influential and enlightened men in Spain, including the poet Don Manuel Quintana, and the poet and philosopher Don Gaspar Melchor de Jovellanos are among my friends. The more indifferent he seems, the more determined I am to have him. In truth I am fascinated by this uncouth artist. I ask myself why this is so and have to admit that it is simply because he appears so impenetrable, contradictory and, most exasperating of all, unattainable. He has become my challenge.