A City on a Rock, 1850-75, courtesy of the Metropolitan Museum of Art, NY

Many of Goya's followers were his own assistants, apprentices, and maybe even family members. One of these followers is 19th century painter Eugenio Lucas Velazquez. Velazquez is best known for his copies of Goya's work. It is alleged that he made over 700 bogus copies of Goya's work and copied elements from autographed works by Goya in his A City on a Rock. This painting had been attributed to Goya up until 1970. Three miniatures painted on ivory formerly attributed to Goya are now attributed to Velazquez.

Another follower, Agustín Esteve y Marqués, was a court painter and best known for his paintings associated with Goya. He also made many copies of Goya's portraits.

Colossus, 1808-1810, courtesy of the Prado Museum, Spain

It is now believed that Goya's Colossus was painted by his friend and assistant, Asensio Julia. Manuela Mena, the Prado's senior expert, said, "x-rays of Colossus had allowed her to spot significant differences between this and other Goya works." She goes on to say that Goya's Colossus revealed the faded initials "A.J." scratched in a corner of the painting, linking the painting earlier attributed to Goya to Asensio Julia. Goya expert Juliet Wilson-Barreau goes on to add that the Colossus "lacks energy, and a good display within the framework of the painting, faults that are completely abnormal in the trajectory of Goya."

Saturn Devouring One of His Children, 1819-23, courtesy of the Prado Museum, Spain

According to Juan Jose Junquera, Spanish art historian, it was probably Goya's son, Javier Pedro Goya y Lucientes, who authored the Black Paintings. Junquera speculates that, "the technique used (oil rather than fresco, with which Goya was experienced) and the suggestion that the house in which the Black Paintings occupied two floors was of only one story during Goya's lifetime," suggests that the paintings were by Goya's son, Javier. Javier was Goya's only child and was time-to-time described as a painter. Junquera surmised that only "one painter had full access to the Quinta and the knowledge of the master's oeuvre and technique. All the markers pointed in one direction: Goya's son Javier." Javier supported himself by selling his father's works. Junquera believes that Javier's motive for the forgeries was money to support his chronically ill son, Mariano. Juliet Wilson-Bareau, a Goya expert of 30 years, explains, "the only clues.for another person or painter substituting himself for Goya was Javier." Javier's artistic skills are unclear. There are no proven works credited to him, only a short paper trail. In 1803 Goya sold his copperplates to the Los Caprichos etchings to the king for money to send Javier, who was 19 at the time, abroad to further his artistic studies. When Javier married two years later, he listed "painter" as his occupation on the marriage license. Javier is said to have been more of a businessman than an artist and would have sold his mother if it were possible.

Two Old Men, Black Series 1821-23

Fanstastic Vision of Asmodea, oil on wall, transferred to panel 123 x 265 cm, Museo del Prado

Pilgrimage to the fountain of Saint Isidro (El Santo Oficio), 1819-23 oil on panel 123 x 266 cm

Semi-hidden Dog, The Dog 1820 oil on canvas 134 x 80 cm Museo del Prado

Old Men Eating Soup 1819-1822 49.3 x 83.4 cm Museo del Prado

Men Reading 1819 126 x 66 cm Museo del Prado

Portrait of Leocadia Zorrilla 1819-23 oil on panel 147.5 x 129.4 cm Museo del Prado

Atropos/ the Fates 1819-23

Witches Sabbath 1821

Fight with Cudgels 1819-23

Judith and Holofernes 1819-23

A Man and Two Women Laughing 1819-23

Head in a Landscape 1819-23

Majas on a Balcony, 1805-12, courtesy of Metropolitan Museum of Art, NY

Majas on a Balcony, at first believed to be a painting mentioned in an 1812 inventory of Goya's belongings, is now identified as a painting documented from 1835, seven years after Goya's death. Majas on a Balcony is said to be missing the sinister characteristics of Goya's signature work and possibly a fake by his son, Javier.

Milkmaid of Bordeaux, 1825-27, courtesy of the Prado Museum, Spain

A Lame Beggar, Rosario Weiss, 1824-43

Maria del Rosario Weiss, a privileged student of Goya's and perhaps his daughter, was devoted to copying the Masters as a way to learn. There are opinions that Rosario painted Milkmaid of Bordeaux while a student of Goya's. But, there are also rumors that Rosario is the subject of the painting.

Rosario came into Goya's Bordeaux household as a child when her mother, Dona Leocadia Weiss, became Goya's live-in housekeeper. It is rumored that Rosario was actually Goya's illegitimate daughter. He treated her as a biological daughter whether or not she truly was. Goya attempted to find Rosario an art teacher in Paris, but failed. She worked in France, for the Spanish royal family, and as a copier for the Prado Museum. Rosario also studied copying under an artist called Lacour, (Pierre?, 1745-1418). After Goya died, Maria del Rosario became a forger associated with a dishonest art dealer. She died in 1843 at the age of 29.

That Dust by Segui Riera after Fr. Goya y Lucientes, 1928, Barcelona, Spain

A century after Goya's death, Spanish artist Segui Riera (1858-1923) commemorated the centenary of Goya's death by copying one of his prints, #23 - That Dust, from Los Caprichos.