"My earliest fascination starts here, with the Black Paintings. [...] For me, they are the center and the heart of the museum. These paintings were my way into Goya, and they were also my way into Spain."
"Leocadia was a woman with a very unorthodox mindset for her time, but very easy to understand through today's lens. Her relationship with freedom and with Goya is visible to anyone. I've only filled in a few gaps. In the Prado's wall text, she is still listed as his housekeeper."
"Unlike Goya's surviving son, Javier, and his grandson, Mariano—who squandered the inheritance and even forged works—Rosario learned to paint and fought [to preserve Goya's true legacy]."
Goya's monsters provoke profound emotional and intellectual responses, inspiring significant cultural works across film, literature, and painting that enrich Spain's heritage. Sergio del Molino's new book, La hija (The Daughter), traces his fascination with Goya through the Black Paintings at Madrid's El Prado Museum. The narrative centers on Rosario Weiss, daughter of Leocadia Zorrilla—Goya's last companion who accompanied him into exile in Bordeaux. Unlike Goya's biological son Javier and grandson Mariano, who squandered their inheritance and forged works, Rosario learned to paint under Goya's tutelage and became his true artistic successor, representing an unconventional legacy.
Read at english.elpais.com
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