Enhanced descriptions from Syndetics:

The story of the relationship between Goya and the Duchess of Alba is shrouded in mystery and secrecy, and has captured the imaginations of authors since the middle of the 19th century. It is not only Goya's artistic crisis, which began with his traumatic illness in 1792-93 in Cadiz, and the creation of his famous "Caprichos" series, but also his affair with the Duchess of Alba that make the period in Goya's life between 1790 and 1800 so intriguing. But what do we know about this love affair, which continues to fascinate us today? Did it actually take place, or was it merely a rumor? What really happened? How is it documented? And what sort of woman was the Duchess of Alba, who, according to a romantic version of the story, nearly drove Goya out of his senses? If we rely on contemporary accounts, her life consisted largely of gossip, illicit love affairs, and all conceivable breaks with social conventions. We would know very little about this woman today had she not encountered Francisco de Goya. Susann Waldmann investigates these and other events by examining various contemporary documents, letters from Goya to his friends, and numerous anecdotes, unfolding a sensational turn of events full of suspense. A fascinating text accompanied by excellent reproductions of Goya's well known paintings and drawings.

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Library Journal Review

These two volumes follow 25 others in the "Pegasus Library" series, advertised as presenting "the passions that drive the masters." Waldmann, a Spanish art specialist, delves into the suspicion some people have entertained over the centuries that Francisco de Goya and one of his patrons, the 13th Duchess of Alba, had an adulterous relationship. Some intriguing paintings, drawings, and prints produced in the 1790s suggest that perhaps they did, but the salacious quotes from a romantic novel and a final image of the duchess's exhumed and decayed corpse are more suited to a tabloid. In contrast, Zöllner (art history, Univ. of Leipzig) uses Sandro Botticelli's art to explore virtuous love within marriage. He discusses the intended usage of the paintings in Italian bridal chambers and cites classical and Renaissance literary references for his analysis of iconographic motifs in "La Primavera," "Birth of Venus," and several other paintings. Translated from German, the text of both books flows clearly; they are sturdily constructed, and the color illustrations complement the text well. Certain aspects, however, such as the slender physical format and dust jackets with erotic spine and cover designs, suggest that these books are intended for gift-giving or collecting rather than purchase by libraries. The exception would be libraries that acquire every title on a particular artist.‘Anne Marie Lane, American Heritage Ctr., Laramie, WY (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.