To the image of Maha, the girls from the very thick of life, the typical Spanish, Francisco Goya, whose painting combined realism and the tart taste of his fantasies, came back more than once. In this picture, the artist depicted two young beauties in national costumes – the mahi wore them in opposition to the French fashion adopted in the upper strata of Spanish society – and two mahos, their cavaliers.
The outfits of the girls are written in white, gold and pearl-gray colors, the faces are given in warm tones, and this delicate, iridescent painting looks even more attractive on a dark background. Sitting on the balcony of maidens, reminiscent of birds in a cage – a story typical of the contemporary artist of Spanish life.
But in his interpretation of Goya introduced an alarming note, depicting in the background dressed in dark men who push their hats over their eyes and wrap themselves in raincoats. These figures are written almost silhouetted, they merge with the surrounding dusk and are perceived as shadows, guarding the adorable youth.
But the mahi also seem to be in a conspiracy with their guards – these seductresses are smiling conspiratorially, as if enticing those whom their beauty will attract, into the darkness that swirls behind their backs. This picture, still watered with light, already portends the full tragedy of Goya’s later work.
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