The Naked Maja Francisco Jose De Goya y Lucientes (1746-1828)
Francisco Jose De Goya y Lucientes – The Naked Maja
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Painter: Francisco Jose De Goya y Lucientes
Location: Prado, Madrid.
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Among Goya’s paintings, the diptych "Maha Clothed" and "Maha Nude" are laden with the greatest mystery. Legend has it that the paintings depict the same woman, the artist’s mistress, the Duchess of Alba. However, all her descendants object to this version. They were even invited to open the family crypt to measure the proportions of the dead duchess and prove that they do not coincide with the proportions of the sitter.
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Description of Francisco de Goya’s painting "Macha Nude"
Among Goya’s paintings, the diptych "Maha Clothed" and "Maha Nude" are laden with the greatest mystery. Legend has it that the paintings depict the same woman, the artist’s mistress, the Duchess of Alba.
However, all her descendants object to this version. They were even invited to open the family crypt to measure the proportions of the dead duchess and prove that they do not coincide with the proportions of the sitter. The crypt, however, has already been opened by Napoleon’s soldiers, who treated the remains not very respectfully, and many of the bones were broken, so that the legend among the people still lives and has not been refuted.
"Maha Naked" repeats "Maha Clothed" in many ways. The same sofa, the same soft cushions, the same pose - hands behind the head, legs stretched out relaxed - only the writing style is different. "Maha Dressed" is painted stricter, the colors of the painting are clearer and sharper. The sitter looks cheerful, her waist is crossed by a pink belt, and her white pants match perfectly with her golden shoes. "Naked Maha," on the other hand, is painted softer.
The colors become more muted, the transitions smoother, there is no obtrusive brightness of clothing - the body on the white sheets seems light, with a slight cast of bronze. The woman calmly demonstrates herself, looking at the camera just as cheerfully, only now you can see a certain slyness in her gaze. She looks tender and alluring, and the entire atmosphere of the painting is saturated with sensuality and love. It’s impossible to paint the unfamiliar sitter in such a way - the brush seems to repeat the movement of her hand, moving along the smooth curves of her body, sliding easily and freely.
One of those who kept the paintings before they were put in the museum, "Maha clothed" covered "Maha nude" so that when you press a special lever, they changed places.
One can imagine how such a sudden change of atmosphere affected the viewer.
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The subtexts of this painting are complex and have been widely debated. The most obvious subtext is the exploration of female sensuality and vulnerability. The direct gaze of the subject challenges the traditional passive portrayal of nudes in art, suggesting agency and self-awareness rather than mere sexual objectification. The nakedness, while central to the composition, is presented with a certain naturalism, avoiding overt eroticism while still being undeniably sensual.
Another significant subtext relates to the social and political context of its creation. The painting was created during a period of political upheaval in Spain, and some argue that the subjects defiant gaze can be interpreted as a symbol of resistance or a commentary on societal norms and hypocrisy. The identity of the sitter has also been a subject of speculation, with theories ranging from a courtesan to a figure representing the spirit of Spain. The paintings bold depiction of female nudity was scandalous for its time, and its subsequent history, including being held by the Spanish Inquisition, further attests to its provocative nature and the subverted expectations it represented. The painting, therefore, can be seen as a powerful statement on female autonomy, the nature of beauty, and the social and political constraints of its era.