The Medicolegal Evaluation on the Identification Case of Painting

Transcription

학술원논문집 (자연과학편) 제52집 1호 (2013) 129-145
The Medicolegal Evaluation on the Identification Case of
Painting Model-‘Maja’
Gook-Jin Moon* ․ Soong Deok Lee**
*
名畵 ‘마하’의 그림모델 신원확인사건의 法醫學的 평가
문국진* ․ 이숭덕**
ABSTRACT
The Spanish artist Francisco de Goya (1746-1826) left two paintings
of the woman model “Maja” as following: The Nude Maja (La maja desnuda,
c.1799-1800) and The Clothed Maja (La maja vestida, c.1800-1803).
Especially, The Nude Maja was a shocking piece to Spain, being a
Catholic state. It aroused much criticism and the painter was charged
with heresy to receive a religious trial. However, Goya remained silent
on who the model was to the last.
His silence provoked a heated discussion on the identity of the model.
Eventually, descendants considered this identification as a problem
greatly related to their family’s honor within lineage.
They have asked
forensic scientists to compare the skull, which has been buried within
* Member, National Academy of Science, Republic of Korea
** Professor, Department of Forensic Medicine, Seoul National University College of
Medicine, 103 Daehak-ro, Jongno-Gu, Seoul 110-799, Republic of Korea
접수일 2013년 7월 23일
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문국진 ․ 이승덕
a coffin for nearly 100 years, and the model of paintings – but it ended
in vain at that time. As a forensic scientist, feeling a sense of duty, we
have tried to identify the model of “Maja” with the biometrics research
team’s assistance for the model’s face analysis. As a result we could
determine who the model was, and thus time long dispute which have
prevailed over the whole Spanish society could settle down.
Key words : biometrics, Francisco de Goya, forensic scientist, identity
of the model, The Nude Maja.
초
록
스페인의 거장 고야 (Francisc de Goya 1746-1826)가 그린 ‘마하(Maja)’ 그
림은 두 장으로 그 하나는 ‘벌거벗은 마하’ (c.1799-1800)이며 다른 하나는 ‘옷을
입은 마하’ (c. 1800-1803)이다. 그중 ‘벌거벗은 마하’ 그림은 당시 가톨릭국가였
던 스페인사회에는 크나큰 충격으로 많은 물의를 일으켜 결국 '이단죄'로 종교재판
을 받게 되였는데 제작화가인 고야가 그림의 모델이 누구인가를 밝히지 않고 끝내
함구하였기 때문에 사람들은 자기 나름대로의 추측으로 모델의 여인이 처음에는 '
명문귀족가문의 알바(Alba)공작부인'이라는 소문이어서 알바가문을 괴롭히게 되
었다. 그러나 한편으로는 그림의 여인이 당시 재상이던 고도이(Godoy)의 애인인
페피타 츠도우(Pepita Tudó)라는 설도 나오게 되어 이 그림의 모델이 누구인가의
그 신원의 확인을 놓고 격론이 벌어지다가 마침내는 그 자손들은 가문의 명예와 관
계되는 문제라 하여 이를 밝히기 위해 이미 100여 년 전에 사망하여 관에 들어있는
유골과 그림의 모델이 동일인지의 여부감정을 당시의 법의학자들에게 의뢰하였으
나 해결되지 못했다.
따라서 당시의 법의학자로서 해결하지 못한 신원확인사건이기에 지금이나마
법의학자의 사명감을 갖고 '마하'그림의 모델이 누구이었는가를 반드시 밝혀야 갰
다고 생각되었기 때문에 생체정보(biometrics)연구팀의 도움을 받아 그림의 얼굴
들의 생체정보적 분석을 실시하여 모델이 누구이었는가를 증명하였다. 따라서 스페
인사회가 200여 년간 안고 내려오던 미궁의 '마하‘그림의 신원확인문제는 해결된
셈이다.
주제어 : 생체정보, 스페인의 거장 고야, 법과학자, 그림모델의 신원, ‘벌거벗은 마하’
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The Medicolegal Evaluation on the Identification Case of Painting Model-‘Maja’
3
Contents
Ⅰ. Introduction
identification of the model “Maja”
Ⅱ. The identification case of the painting
model “Maja”
Ⅳ. Discussion
Ⅴ. Conclusion
Ⅲ. Applying forensic medicine for the
Reference
I. Introduction
Usually, painters do not conceal their paintings’models unless there are
special reasons. People naturally find out who the model is. Sometimes,
however, artists keep the model’s identity as a secret. The model ends up
being an enigmatic person and people try to guess who he or she is.
There was a heated discussion on the identity of a model. The
descendants regarded this matter as a problem related to reputation of
their family, and they dug up their ancestor’s grave. Bringing the bones,
they asked for an authentication to a forensic scientist whether the model
is identical to the dead body.
The problematic paintings in this case were The Nude Maja (c.1799-1800,
Fig. 1) and The Clothed Maja (c.1800-1803, Fig. 2) painted by the great
Spanish artist Francisco de Goya (1746 –1826). His life was full of ups
and downs. During his lifetime, he left almost 2,000 art works including
huge wall paintings and drawings. Renowned as a master of art, Goya
sincerely pursued innovations in techniques and tried to keep the
Spanish-commoner spirit in every aspect including his life and artworks.
This being so, the fact that he drew a nude painting passes our
understanding.
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Figure 1. Francisco de Goya. The Nude Maja. c.1799-1800. Museo del Prado, Madrid, Spain
Figure 2. Francisco de Goya. The Clothed Maja. 1800-03. Museo del Prado, Madrid, Spain
Especially, The Nude Maja was the very first nude painting in Western
art history and it was a shock to the Catholic Spanish society. Goya
depicted a woman’s naked body, which had been strictly banned until
then, in a provocative and realistic way. Consequently, his painting
became the talk of the Spanish society and he received a religious trial.
At the trial, he was questioned on the identity of the model. However,
his only answer was "The model was the women I loved," and he refused
to disclose further.
Identifying Maja’s model was left unsettled. The painting became
famous as it stimulated people’s curiosity. Spectators’own interpretations
and guesses on the painting led to all kinds of rumors and gossips in the
entire Spain (Moon 2004).
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Ⅱ. The identification case of the painting model ”Maja”
The first woman to be in the center of a gossip was the Duchess of
Alba. Goya drew the duchess’ portrait two times, in 1795 (Fig. 3) and in
1797 (Fig. 4). This was when the Duke of Alba passed away. She invited
Goya and made him to paint her portraits while she spent time in a villa
located in the suburb of Madrid. She was the duchess of one of the
noblest families in Spain and was a woman of attention named as
"Venus" among high society. Meanwhile, she was a flirting woman-her
enjoying hanging around with men gave herself another nickname
"devilkin (a little devil)". "The walking penis" Goya was also involved
with many women.
Therefore, there was nothing to be strange for them to make such nude
painting while staying in a villa for two years. Even though Goya was a
genius, there was a difference in social standing between them. Later it
has been revealed that they fell in a passionate love for each other,
leading them to overcome the difference (Moon 2004).
Figure 3. Francisco de Goya. Portrait of the Dutchess of Alba. 1795. Duke of Alba, Madrid,
Spain
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6
In Portrait of the Duchess of Alba (1797, Fig. 4), which is a painting
found in Goya’s house after his death, the Duchess of Alba wearing a
black dress stands in an imposing manner just like other noble women.
The peculiar thing of this painting is that the index finger of her right
hand is pointing to the writing "Solo Goya"written on the sand . The
letters are hard to be noticed because they are painted in a sand color
(Lee, J H. 2003).
Figure 4. Francisco de Goya. Portrait of the Duchess of Alba. 1797. The Hispanic
Society of America, New York, NY, USA
She is also wearing two rings on her right fingers. Legible writings
"Alba" and "Goya"are engraved on the rings. Those who see the portrait
in real size can recognize the letters. (Fig. 5) This portrait, found in
Goya’s house 20 years after his death, well explains the relationship
between the duchess and Goya. Such treasuring artwork of Goya clarified
the relationship. Rumor regarding the duchess as the model of Maja was
discussed again. Their story became a legend and it became a basis for
literate works and movies (Lee, M O 2002) (Lee, J H 2003).
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Figure 5. Francisco de Goya. Portrait of the Duchess of Alba. Detail. 1797. The Hispanic
Society of America, New York, NY, USA
Consecutively, there came out some arguments on the reason why
Maja’s face does not perfectly resembles that of the Duchess of Alba.
They insisted that Goya retouched the painting after her death, pointing
out that the joint between neck and body is unnatural. In order to
conclude this discussion, art critics carried on a X-ray test to find out
whether two different faces are overlapped. There was no such evidence
and it became clear that the face part of the painting was not retouched.
In 1945, the Alba family asked forensic scientists to prove that the model
of Maja and the Duchess of Alba are two different people in order to
regain the family’s and ancestors’honor. However, her remain was
collapsed to an unidentifiable state (Lee, J H 2003) (Moon 2004).
At the time when Goya painted The Nude Maja, hedonic Royal family
and aristocrats in Spain chased for luxuries despite the collapse of the
country. This comes to the front by an affair between the Queen Maria
Luisa and Manuel de Godoy. The country boy Godoy enlisted in the
palace guard in 1784. There he found favor with Maria Luisa. Her
husband was Carlos, the successor to the throne. Soon Godoy became her
paramour. Maria Luisa had a complete influence over her husband. When
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8
Carlos IV succeeded to the throne in 1788, she persuaded him to appoint
Godoy as a dignitary. In 1792, Godoy became the Secretary of State as
well as the General of the Army, and eventually the Prime Minister and
had control over the reign.
The Prime Minister Godoy had too many women in his life. At that
time, Pepita Tudó was his lover. She was also pointed out as the model
of Goya’s painting "Maja." Several facts support this argument. Godoy
was the final possessor of the paintings. He included the paintings in his
nude painting collection. It had been in the secret exhibition room before
the disclosure to the public. Also, obviously, the model looks very like
Pepita. It is said that lascivious Godoy made Goya to paint the nude
body of his lover, hung the picture in the living room and enjoyed looking
at it (Nakamaru 1998) (Moon 2004).
According to this contention, Godoy wanted Goya to draw both nude
and clothed Maja for camouflage. He hung the pictures on each side of a
wall so that he can switch pictures by simply just pushing and spinning
the wall. Usually, or when Godoy had visitors, he had clothed Maja on
the wall. On the other hand, when he wanted to enjoy and fulfill his
desire to watch women’s nude bodies, he and his close friends would spin
the wall and look on the nude Maja (Moon 2004).
Pepita, who received attention, remained as Godoy’s lover. When Godoy
lost his position and lived in exile, she followed him to Rome. There she
was added to his family register as Godoy’s wife passed away. They lived
in Rome until 1819 and moved to Paris. Pepita secretly disposed
properties hidden in Madrid as a substitute for Godoy since they became
poor. Portrait of Pepita Tudó (1805, Fig. 6) painted by Vicente López
(1772-1850) have many similarities with Maja. But many stands on the
point of view that it is hard to conclude assertively because it is a
painting, not a picture (Baticle 1986) (Tomlinson 1999).
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Figure 6. Vicente López. Portrait of the Pepita Tudó (1805) Museo del Lazaro Galdiano,
Madrid, Spain
Ⅲ. Applying forensic medicine for the identification of
the model “Maja"
It was impossible for forensic scientists at that time to figure out
whether the Duchess of Alba was the model of Maja paintings. Thus we
have tried biometric analysis on the paintings with the help of biometrics
research team. This was for the sense of duty as a forensic scientist and
to further expand the academic field of Medicolegal Pursuitgraphy.
1. Biometric Analysis on Faces of Paintings
Biometrics is a technology to extract physical and behavioral characteristics
of an individual with automatic equipments, analyze the data, and
accurately identify a person. It extracts physical characteristics such as
shape of face, fingerprint, retina and iris of eyes, voice, facial expression,
and measurement of hands. In this test, it was used to tell the sameness
of faces on the paintings.
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10
2. Object of the Comparative Test on Faces of Paintings
In order to identify the model of Maja paintings, facial parts of the
following paintings were chosen and magnified: Maja’s model from The
Nude Maja and The Clothed Maja the Duchess of Alba from her portraits
painted in 1795 and 1797; and woman Pepita from her portrait.
(A)
(B)
(C)
Figure 7. Facial parts of paintings chosen for the comparative analysis for this test.
(A, Upper): Facial part in The Nude Maja, (A, Lower): Facial part in The
Clothed Maja,
(B, Upper): Facial part in the painting for Duchess of Alba in 1797, (B, lower):
Facial part in the painting for Duchess of Alba in 1795
(C): Facial part in portrait of Pepita from her portrait (1805)
3. Comparative Test on Landmarks of Faces of Paintings
Among the five aforementioned face paintings, The Nude Maja
(c.1799-1800) (Fig. 7, A upper) for Maja’s face, Portrait of the Duchess
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of Alba (1795) (Fig. 7, B lower) for face of the duchess of Alba, and
Portrait of Pepita Tudó (c.1800-1803) (Fig. 7, C) for face of the woman
Pepita were selected after considering similarities. Since each painting’s
faces were drawn in different angles, they were restored to three-dimensional
facial forms (9). For the restoration, 3D model of ‘western caucasian
woman’ was used. The restored forms were rotated to the front for
identical face angles. Finally it was ready to be used for the comparative
test on landmarks.
In more detail, as in Fig. 8, top-left pictures were restored in three-dimensional
facial forms as top-right pictures. Then they were rotated to the front
and were given landmarks as bottom-left and right pictures. Total 20
landmarks were used, among which popular landmarks such as glabella,
sublabiale, pogonion et al. were included (Martin & Richard 2010). The
experiment was to compare the landmarks’ positions, but it was
meaningless to the determination because there were no definite
differences. Different degree of distortion during rotation to front from
different position of each faces in pictures might be one of the reason for
this result. Therefore, comparison of facial index based on statistics
was conducted.
(A)
(B)
(C)
Figure 8. Three-dimensional facial restoration and comparison for the landmarks.
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4. Comparison of facial index based on statistics
Facial index were calculated from the three-dimensional rotated images
as bottom-left faces in Fig. 8. Then they were compared to find out
whether there are some similar indexes. Among ten facial indexes which
would express facial characteristics well, (A)(Maja) and (C)(Pepita) were
more similar than (A) and (B)(the Duchess of Alba) in six indexes of the
following: nasal index, eye-face width index, nose-face width index,
mouth-face width index, eye-nose ratio, eye-mouth ratio. This shows that
it is possible to interpret that Pepita’s face is more similar to Maja’s face
than that of the Duchess of Alba.
(A)
(B)
(C)
Figure 9. Three-dimensionally restored face for facial index comparison.
(A) for Maja, (B) for Duchess of Alba and (C) for Pepita.
Table 1. Facial indexes. (A) for Maja, (B) for Duchess of Alba and (C) for Pepita.
nasal
Index facial
index index
eyeface
width
index
nose- nose- mouth- chinface
face
face
face
width height width height
index index
index
index
eyenose
ratio
eye- nosemouth mouth
ratio
ratio
(A)
82.88 66.70 25.29
24.14
43.66
30.55
56.34 104.78
(B)
88.09 51.56 28.81
20.67
45.50
25.26
54.50 139.41 114.06 81.82
(C)
88.30 59.69 27.88
21.06
39.96
32.36
60.04 132.39
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82.80
86.16
79.02
65.09
13
5. Comparison by Facial Recognition Program
Similarity was once more compared by using the facial recognition
program, ‘Neoface’ (Imaoka et al 2010) produced by the Japanese corporation
NEC (Nippon Electric Company, Japan). Results for the comparisons of
the paintings in Fig. 9. using Neoface can be referred from Table 2.
Similarity index shows a real number between 0.0 and 1.0. When two
faces are identical, the similarity index number will be 1.0. The Clothed
Maja and Pepita’s image indicated the highest similarity index by 0.6947.
Second highest index number was extracted by comparing The Nude Maja
and Pepita’s image, which was 0.6893. This second largest number was
approximately 1.39 times higher than the similarity index number
between Maja and the Duchess of Alba. Using this similarity index as the
basis, Maja’s face is more similar to Pepita’s face than that of the
Duchess of Alba. So far, according to the facial comparison test results of
900 people using Neoface personally, there was an occasion when the
same person’s face had a similarity index lower than 0.6. Still, similarity
index number between two different people was not once over 0.6.
Table 2. Face similarity indexes.
0.3922
0.5008
0.6893
0.1392
0.4835
0.6947
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6. Superimposition method
For certainty, Superimposition method was carried. This test overlaps
facial images of the same face angle and examines how natural the
overlapped image is. The restored and rotated three-dimensional images
from Fig. 9. were paired in Maja-Alba and Maja-Pepita. The overlapped
images are shown in Fig. 10.
Maintaining the horizontal to vertical ratio, top points of the head and
bottom points of the chin were overlapped. Overlapped image of
Maja-Pepita, showed a natural symmetry of eyebrows, eyes, nose, and
mouth regarding position and size. On the other hand, overlapped image
of Maja-Duchess of Alba, was unnatural because the comparing elements
were different in their position and size. Hereby, it is confirmed by
Superimposition method that the similarity between Maja and Pepita is
greater than that of Maja and the Duchess of Alba.
Figure 10. Results of superimposing test. left, Maja and Duches of Alba, right,
Maja and Pepita
7. Overall Result
Although comparing test between landmarks did not draw a clear
distinction, facial index and comparison with the database, and
comparison using the facial recognition program all indicated that Pepita
has higher similarity with Maja than the Duchess of Alba. To be more
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precise, Superimposition method was conducted. As the preceding results,
Pepita’s face overlapped naturally in symmetry with Maja whereas the
Duchess of Alba and Maja’s overlapping image was unnatural.
This is indeed a credible result considering that Maja and the Duchess
of Alba did not have obvious points of resemblance despite they were
both painted Goya. But the portrait of Pepita painted by López was very
similar to Maja especially in superimposing test though the artists were
different. In other words, two painters López and Goya depicted Pepita’s
face realistically. To conclude, Maja in Goya’s paintings can be seen as
the woman Pepita.
Ⅳ. Discussion
There once was an opportunity to travel Europe and visit Madrid. I was
guided by a local Korean to Prado Museum and could appreciate Maja
paintings. While explaining the paintings, the docent mentioned that the
Spain national broadcasting station has been airing a soap opera called
"Goya." There was a scene when the Duchess of Alba showed up in front
of a canvas being naked. This scene again arouse public interest on the
question "Who is the model of Maja paintings ?" While listening to the
docent’s detailed explanation, local elementary school students following
a teacher came in. They approached near where we were standing, right
in front of the Maja paintings. The teacher carried on a long explanation;
and suddenly the young kids bursted into laughter. By asking the reason,
hearing a summary of the teacher’s story was possible. At that time,
Queen Maria Luisa and the Duchess of Alba led a cat-and-dog life. They
slandered each other. These verbal abuses all started when the Duchess
of Alba tried to reveal that the queen has a lover, Godoy, whenever she
had a chance to do so. Actually, the duchess was also having an affair
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with Goya. While the queen was being cornered on the defensive, the
rumor that the model of Maja was the Duchess of Alba broke out.
Considering this as a big chance, the queen joined to spread the rumor.
Queen’s move infuriated the duchess and made her move for revenge. The
duchess ordered 20 clothes that look exactly same as the queen’s. Then
she made her servants to wear the clothes and let them go out – and
this was when the students started to laugh out loud.
The whole situation got so complicated because Goya stayed quiet on
who the model of Maja paintings is. Goya’s silence, as a matter of fact,
could maybe be an order from the Prime Minister Godoy, the lover of the
queen and the very person who ordered the painting. Godoy may have
asked never to disclose the identity of the model. Otherwise, it would be
nonsense for a painter to remain silent. Besides, this was a perfect
opportunity for the queen to be easy in mind and aggravate the public
opinion. Consequently, the case had become a puzzle.
It is a relief to clarify the fact that the Duchess of Alba was not the
model of Maja paintings with belated efforts. From now on, the Alba
family will be free from the dishonoring rumor that had lasted for over
200 years and the deceased Duchess of Alba will rest in peace.
V. Conclusion
Model Maja’s face in Francisc de Goya’s The Nude Maja (La maja desnud,
c.1799-1800) and The Clothed Maja (La maja vestida, c.1800-1803) was
identical to the face of the woman Pepita Tudó.
Acknowledgment: Authors really appreciate the kind help of biometric
team, Joong Lee, Do Joon Jung and Jun Suk Kim in
Forensic Medicine Division, National Forensic Services.
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17
References
Baticle J. 1986. Goya dor et de sang, Gallimard, Paris, p. 88
Imaoka H., Hayasaka A., Morishita Y., Sato A,, Hiroaki T. 2010. Nec's face
recognition technology and its applications, NEC Technical journal, vol. 5,
No. 3: pp. 28-33
Lee, J H. 2003. The Artists and Models, Yeadam, Seoul, p. 38
Lee, M O. 2002. The Erotic gallery in Sabina, Haenam Pub., Seoul, p. 90
Martin P. E. & Richard W. V. B. 2010. Computer-Aided Forensic Facial
Comparison, CRC Press, Boca Ration, Florida, pp. 145-156
Moon, G J. 2004. The Nude Pictures Analysis by Forensic Pathologist, Yeadam,
Seoul. p. l27
Nakamaru, A. 1998. Goya's Tour in Spain, Bungeishunshu Pub. Tokyo, p. 146
Tomlinson J. 1999. GOYA, Phadon Press, London, p. 160
http://animetrics.com/2d-3d-technology/
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The Medicolegal Evaluation on the Identification Case of Painting

Transcription

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