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Our gallery guide pointed to the four enlarged replicas of Goya's paintings that had been selected as examples of Goya's universal dimension. The enlarged replicas of the four paintings dominated the atmosphere in the entrance hall. Far from forming a background, they set the scene. Our guide told us that the four paintings represent the four 'giants' that Goya was deeply concerned with. The guide added that these four 'giants' are still very much a prominent feature of the modern world.
The gallery guide took us to the first painting of "the giants," titled Majas on the Balcony. The painting is of two lovely girls, fancily dressed. The term Maja means beautiful woman. The guide pronounced Maja as 'ma ha.' The two women were painted in bright colors with two dark male figures standing in the shadows behind them.
The guide suggested that the devastating 'giant' that Goya put on the canvass here, might be called 'cultural darkness,' or 'cultural warfare,' a process that engenders the loss of beauty by society's small-minded pursuits, the loss of truth for expediency. Goya abhorred the degrading trap of the sex trade, in which women become consumed like a commodity.
Our guide pointed out that Goya was a skilled classical artist with a gift similar to Rembrandt's, in brining out the beauty of the human being and its very Soul. It was this inner beauty of the human being that became tragically squandered in the winds of a desensitized society, with an imperial background that was also laced with bullfighting and public executions by the Inquisition. In the cultural 'night' Goya saw mothers acting as 'Celestina' or procuresses, bringing their daughters to 'abuse' in the shadowy world of prostitution, that was probably run to a large degree by the Inquisition, and by the king's own police for profit, and also for extracting information. The guide suggested that this process is still extensively utilized by modern intelligence agencies.
The guide, however, suggested that a still deeper link exists between the historic situation of the painting and its universal dimension. She suggested that there exists a striking similarity in the facial expression of the Maja in Goya's paintings, Maja and Celestina, with that of the woman in Goya's etching, This is the truth. She said that the etching is of a series of three, beginning with Truth is dead, progressing to Will she rise again? The guide informed us that the works were all located in the Black Room of the gallery and that we should note the similarity and the implications. She suggested that we keep in mind also the modern imperial cultural warfare processes, that are designed to destroy humanist values under the Cultural Freedom Dogma, with which the truth is being murdered in order to make a virtue of a society that is 'free from culture.'
After that, the gallery guide turned to the second painting in the entrance hall and suggested that the second 'giant' that Goya was combating, was universal fascism, represented by the painting of the Judicial Session of the Inquisition. She told us that the Grand Inquisitor of Spain, of the 15th Century, Tomas Torquemada, would likely have been proud to be identified as the original architect of universal fascism, and also as the ideological front-runner of the beastman phenomenon. That's what the evil Count Joseph de Maistre, an admirer of the Inquisition, and human sacrifice, idealized. The British utilized the antihuman madness that Torquemada and Maistre represented, to stage the Jacobin terror operations. Napoleon exemplified the ideology of universal fascism as a copycat, perhaps more forcefully, followed by Hitler. She suggested that the beastman phenomenon that Torquemada put onto the world scene, that Maistre admired, continues to rain in modern times in the background of the western quest for world-empire status.
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