![to whom it may concern in spanish to whom it may concern in spanish](https://www.madicamporese.com/wp-content/uploads/2021/02/andrew-selepak-LOR.jpg)
During an illness in 1790, Goya told Zapater that ‘with your portrait before me, it seems I enjoy the sweetness of being with you oh my soulmate I didn’t believe friendship could arrive to the stage that I am now feeling.’ He even prepared a room in Madrid where he and Zapater might ‘live together and sleep (a remedy to which I resort when my sadness overwhelms me)’. The two men exchanged drawings of their penises (‘Jesus! What a testimony!’ Goya marvelled on receiving Zapater’s letter). Goya’s letters to him are rich in description and lively conversation, from court gossip, reports of his hunting prowess and the tunes of seguidillas, to frank discussions of masturbation and some remarkable doodles, including a self-portrait of Goya smoking a cigarette. Despite Goya’s entreaties, Zapater never left Zaragoza, so was well placed to deal with Goya’s affairs in the town. Zapater had experienced a difficult start in Zaragoza himself, but went on to make his fortune through the buying, leasing and selling of land, becoming so central to the workings of the city that he was eventually ennobled. The recipient of his disgruntlement was Martin Zapater, who would provide a vital sounding board for his friend’s frustrations and fantasies. Faced with yet another request for help, this time from his niece, Goya erupted: ‘They are holding me hostage … I cannot tolerate any more.’ His family’s security preoccupied him throughout his career, though he often chafed at their demands. His wife, Josefa Bayeu, came from a dynasty of artists, and was accustomed to comfortable Madrid living. His father, a gilder, had died impoverished and intestate, leaving him to look after his mother and the extended family. But he couldn’t cut his ties to Zaragoza. Goya’s letters rage at the ‘shameful indignity’ with which he was treated, like ‘a mere executor and dependant’.
![to whom it may concern in spanish to whom it may concern in spanish](https://study.com/academy/practice/quiz-worksheet-writing-work-emails-in-spanish.jpg)
To make matters worse, the church authorities appealed to his mentor and brother-in-law, Francisco Bayeu, to touch up the unhappy composition.
![to whom it may concern in spanish to whom it may concern in spanish](https://www.infosperber.ch/data/attachements/Sands.Morales.png)
Yet in 1781 his fresco of Mary, Queen of Martyrs for the basilica was rejected by the building committee – a slight he didn’t forget. Goya’s first big opportunity as an artist came in 1772, with a commission to paint the choir vault in the magnificent basilica of El Pilar in Zaragoza.
#TO WHOM IT MAY CONCERN IN SPANISH HOW TO#
‘I saw her, Orosia Morena, in Zaragoza because she knew how to make mice.’
![to whom it may concern in spanish to whom it may concern in spanish](https://cronodon.com/images/white-bluebell.jpg)
He revisited the event in a drawing made decades later, at a time when the abolition of the Inquisition was under discussion: ‘They put a gag on her because she spoke and they hit her in the face,’ he wrote in the caption. In 1760, aged fourteen, Goya watched the auto-da-fé of a local woman accused of practising sorcery. Sometimes these memories were unpleasant. Zaragoza provided the sights that he drew on throughout his career, including bullfights, religious processions and the local hospital (Zaragoza was exceptional in mid-18th-century Spain in having a doctor who specialised in mental illness). Although he relocated to Madrid in 1775, he continued to identify as an Aragonese, and even gave his hometown its Latinised title, Cesaraugustano, in signing his altarpiece for Seville cathedral in 1817. His early years in Zaragoza, where his family moved a month after he was born in 1746, were of enduring importance. Impatient with the critical tendency to cast Goya as a proto-modernist, Janet Tomlinson’s new biography restores him to his own times. An unsparing exhibition at Agen in 2019 examined the role of studio assistants in making copies under Goya’s direction, and the unsavoury efforts of his descendants to fabricate lucrative pastiches. This cull has claimed yet more works, with fierce debates over the status of the Colossus – a monstrous allegory of the Napoleonic invasion, held by the Prado but downgraded in 2008 – and the Balloon, a one-time star attraction of the museum in Agen. In the 1990s, the number of small format paintings attributed to him was slashed from three hundred to 112. Academic scrutiny of his studio inventories has considerably shrunk the Goya corpus. In recent years, reflections on Goya’s moral achievement have been replaced by a more rigorous and technical assessment of his style.
#TO WHOM IT MAY CONCERN IN SPANISH SERIES#
‘Witches’ Sabbath’ (1798) from Goya’s series for the Duchess of Osuna.