TRAS LOS ALEMANES, SERGIO DEL MOLINO ABORDA EN UNA FICCI N DESLUMBRANTE LA HISTORIA DE ROSARIO WEISS, OCULTA TRAS UN MITO DEL ARTE ESPA OL: FRANCISCO DE GOYA.
«Sergio del Molino mira donde nadie mira y por eso ve lo que nadie ve. Y lo cuenta con trazo de escritor grande . - I aki Gabilondo
Juan Antonio Rasc n llega a Par s en 1878 para ver unos cuadros de Goya que resultan ser las pinturas negras de la quinta madrile a del artista. Al examinarlas, vuelve a l la memoria de Rosario Weiss, de quien estuvo enamorado en su juventud. La joven creci junto a Goya y aprendi de l, pero por encima de todo, fue la hija que lo acompa hasta sus ltimos d as; sin embargo, tras la muerte del pintor, qued relegada durante d cadas, borrada tanto por su condici n de mujer como por la voluntad colectiva de conservar intacto el mito goyesco. M s de un siglo despu s, el escritor Sergio del Molino contempla el autorretrato de Weiss en el Museo del Prado y, haciendo uso de la m xima libertad que permite la ficci n, repara los hilos que la historia se empe en romper, al tiempo que reconstruye una poca convulsa de la historia pol tica y cultural de Espa a. En ese proceso, ilumina el singular papel del creador y deja al descubierto la maniobra que expuls a Rosario del relato. La hija devuelve su identidad a una artista excepcional que nunca debi perder el centro de su propia vida. ENGLISH DESCRIPTION AFTER THE GERMANS, SERGIO DEL MOLINO TAKES ON THE STORY OF ROSARIO WEISS, HIDDEN BEHIND A MYTH OF SPANISH ART, IN A DAZZLING WORK OF FICTION: FRANCISCO DE GOYA.
"Sergio del Molino looks where no one else looks, and that's why he sees what no one else sees. And he recounts it with the skill of a great writer." --I aki Gabilondo
Juan Antonio Rasc n arrives in Paris in 1878 to see some paintings by Goya, which turn out to be the black paintings from the artist's Madrid villa. As he examines them, he is reminded of Rosario Weiss, with whom he was in love in his youth. The young woman grew up with Goya and learned from him, but above all, she was the daughter who accompanied him until his last days. However, after the painter's death, she was relegated for decades, erased both because of her status as a woman and because of the collective desire to keep the Goya myth intact. More than a century later, writer Sergio del Molino contemplates Weiss's self-portrait in the Prado Museum and, making use of the maximum freedom that fiction allows, repairs the threads that history insisted on breaking, while reconstructing a turbulent period in Spain's political and cultural history. In the process, he sheds light on the unique role of the creator and reveals the maneuver that expelled Rosario from the story. The Daughter restores the identity of an exceptional artist who should never have lost the center of her own life.
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