La hija

Juan Antonio Rascón arrives in Paris in 1878 to see some Goya paintings that turn out to be the Black Paintings from the artist's Madrid estate. Examining them, he is reminded of Rosario Weiss, with whom he had been in love in his youth. The young woman grew up alongside Goya and learned from him, but above all, she was the daughter who accompanied him until his final days; however, after the painter's death, she was relegated to the sidelines for decades, erased both by her gender and by the collective desire to preserve the Goya myth intact. More than a century later, the writer Sergio del Molino contemplates Weiss's self-portrait in the Prado Museum and, exercising the utmost freedom that fiction allows, mends the threads that history has tried to sever, while reconstructing a turbulent period in Spain's political and cultural history. In doing so, he illuminates the singular role of the artist and exposes the maneuver that expelled Rosario from the narrative. The daughter restores her identity to an exceptional artist who should never have lost the center of her own life.