Mysteries of the two Maya paintings

Among all the paintings and sculptures at the Prado Art Museum in Madrid, Spain, the bull’s-eye many visitors take an aim at must be “Closed Maya” and “Naked Maya”, which is said to be the first nude painting in the art history.

Probably, you ask me, “What about those numerous nude paintings produced during the Italian Renaissance?” Of course, many nude paintings were created in those days as well as during the Middle Ages. However, those nude paintings had something to do with the ancient mythology. When painters produced the nude, only those paintings modeled on the mythological scenes seem to have been accepted by the authorities.

Therefore, it was utterly epoch-making to paint a stark-naked woman who had nothing to do with the ancient myths. By the way, The model for Maya was thought to be the 13th duchess of Alba who was Goya’s sweetheart.

This “Duchess Alba theory”, however, is not supported by many researchers these days because Duchess Alba does not resemble the woman in the paintings and the naked figure of Maya does not look like the figure produced in the sketches of Duchess Alba.

Furthermore, the researchers indicate that, in terms of painting style, the period when Goya painted Maya contradicts the time range (1796-97) at which Goya spent time with Duchess Alba. Some researchers insist that Goya painted both between 1803 and 1805 while others suppose that Goya produced them before the duchess and the painter came to love each other.

Then, another researcher insists that the model of Maya must be Pepita Tudo, the lover of Prime Minister Godoy at the time, mainly because both paintings were found at Godoy’s mansion in 1803.

By the way, many scholars agree that Goya produced these two paintings in different time frames—at least several years in between. You might wonder why Goya painted “Clothed Maya” after “Naked Maya”.

Goya might have painted both upon orders from his client. Then why did his client ask Goya to paint the clothed one after “Naked Maya”?

As for this mystery, many scholars have come up with a variety of theories. One researcher claimed that “Clothed Maya” had always hidden “Naked Maya” at the bottom of a double frame because of the strict morals reflecting the national character of Spain at the time.

Moreover, another researcher has advanced the opinion that Goya’s client put the two pictures on the font and rear sides of the frame, and made the naked and clothed Mayas replaced according to his convenience and moods.

In the 19th century at the Godoy’s mansion, “Naked Maya” was called “Venus” and “Clothed Maya”, simply “Maya”. At his mansion, visitors usually saw the clothed one. When the handle was turned, the naked one appeared from the back.

However, Goya’s son is said to have called these two paintings “Venus”. Taking this into consideration, you might be able to say that Goya produced the both paintings to create “Venus on heavens” and “Venus on earth”.

The Duchess was thirty-three years old at the time of this painting. Goya had met her through her husband, the Duke of Alba, whom Goya painted several times.

During the Renaissance, painters used to produce two works based on the theme of both Platonic love and sensuous love. Goya, who had studied the fine arts at Rome in his twenties, must have been familiar with this type of expression peculiar to the Renaissance.

As Botticelli had produced “Spring” and “Birth of Venus” as a set, spending 7 or 8 years, Goya might first have painted the naked one with sensuous lone in mind and, after several years, produced the clothed one on the Platonic-love theme, making both into a single set.

Although the order in which Goya produced both paintings is reverse, it is natural to place them so that you can see the clothed one first and then the naked one. Accordingly, at the Prado Art Museum, you see “Clothed Maya” first when you enter, and then “Naked Maya” in a natural order.