The Goya Museum in Zaragoza, Spain, has reopened following a significant renovation and expansion that introduces a striking new limestone facade engraved with scenes from Francisco de Goya’s most evocative print series. The 126 slabs depict powerful and unsettling images drawn from Goya’s "The Caprices," "The Disasters of War," "The Follies," and "Bullfighting," portraying themes of violence, social upheaval, persecution, and the fragility of power during a turbulent period in Spanish history more than two centuries ago.

The museum’s relaunch also marks the debut of the exhibition "Only Goya. The Art of Seeing," which runs through January 10. Curated by Luis Fernández-Galiano, the show underscores the enduring relevance of Goya’s work, suggesting parallels between the turmoil of the artist’s era and contemporary global uncertainties. "We live in turbulent times, like those witnessed by Goya," Fernández-Galiano remarked.

Born in 1746 near Zaragoza, Goya rose from modest beginnings to become a prominent court artist in Madrid. Locally revered as "el genio," the reopened museum connects a 16th-century palace—home to the institution’s permanent collection—with the new facade through a meticulously designed series of ramps and corridors by Sebastián Arquitectos. Architect Sergio Sebastián emphasized the project’s intention to reflect the "duality between tradition and modernity."

The inaugural exhibition features 39 oil paintings and two tapestries loaned from private collectors and major institutions such as the Baltimore Museum of Art, the Uffizi Gallery, and the National Gallery in London. Central to the display are three life-size portraits of influential Spanish women that reveal insights into their character beyond status and appearance. These works include portraits of María del Pilar Teresa Cayetana de Silva Álvarez de Toledo, the 13th Duchess of Alba; the 12th Marchioness of Villafranca; and the actress María del Rosario Fernández, known as "La Tirana." The museum’s deputy director, Cristina Rubio, highlighted Goya’s technical mastery of texture and psychological depth in these portraits.

The exhibition also presents male figures from Goya’s time, including royalty, intellectuals, and members of his personal circle, along with early tapestry cartoons that depict rural leisure alongside more dramatic social commentary. One notable example, "The Injured Mason," condemns the absence of safety measures for laborers during construction accidents.

José Luis Rodrigo, director general of Fundación Ibercaja, which owns the museum, noted that Goya’s critical depictions resonate with many contemporary social issues. The museum reopening also commemorates the 150th anniversary of Ibercaja Banco and the 250th anniversary of the Royal Aragonese Economic Society of Friends of the Country, an Enlightenment-era institution of which Goya was a member. The society aimed to promote regional development through education, culture, and economic advancement, values reflected in Goya’s body of work.

Fernández-Galiano concluded by underscoring Goya’s timeless impact: "Of the old masters, Goya’s message is the most relevant to the modern day."