ABSTRACT
The chapter concludes the volume with a letter written by Goya to his friend Martín Zapater. This is the only written document in which the painter mentions the famous Duchess of Alba, María Teresa de Silva, who was the second-highest-ranking lady in Spain after the Queen. In the letter, Goya describes how the duchess burst into his studio to have her make-up done, using four different meanings of the Spanish word pintar (to paint) because there is no specific Spanish word for make-up. The chapter explores the relationship between painting and make-up. Goya mentions that he still needs to paint the Alba in full figure, which some interpret as a continuation of the painting begun on her face. Others view the painted face as a preliminary study for a full-length portrait. Regardless of interpretation, the distinction between painted and made-up faces appears negligible, and Goya's interest in the relationship between painting and make-up is clear. The letter also suggests that tensions can arise when painted faces are depicted on canvas, as the distinction between the two becomes blurred.
