Salvador Martínez Cubells

Salvador Martínez Cubells (9 November 1845, Valencia – 21 January 1914, Madrid) was a Spanish painter and art restorer, who specialized in history painting and Costumbrismo.

He received his first art lessons from his father, Francesco Martínez Yago (1814–1895), who was also a painter. Among his first works was "Baile de labradores" (Peasants' Dance), which was shown at the National Exhibition of Fine Arts in 1864. Three years later, he exhibited a historical painting that was purchased by the Count of Pinohermoso. A year later, the Count bought another of his paintings at the Exposición Aragonesa. He would continue to participate in the National Exhibitions until 1889, displaying a total of seventy canvases.

He concentrated on portraits, achieving a reputation among the aristocracy of Madrid, but also dedicated himself to art restoration. He became one of the foremost authorities on the subject at that time and, in 1869, was appointed the primary restorer at the Museo del Prado, initially under the direction of Antonio Gisbert, and continued in that position for twenty-six years, later serving under the direction of Francisco Sans Cabot and Federico de Madrazo. He also created a school for art restorers that he oversaw until his death. Among his most notable restorations were several works by El Greco and San Antonio de Padua by Bartolomé Esteban Murillo.

Unquestionably though, his most challenging project involved the Black Paintings of Francisco de Goya, which were painted in oil on the walls of Goya's home, the "Quinta del Sordo". The images were transferred from the wall to canvases, using pictures taken by the French photographer Jean Laurent as a guide. Many of the paintings were smudgy, badly cracked, and smeared with plaster, so he took the initiative of restoring them to their original state, as much as possible. The home's owner at that time, Baron Émile d’Erlanger, had planned to sell them at the upcoming Exposition Universelle (1878). By the end of 1875, only four of the fourteen paintings had been transferred. This very slow progress apparently prompted d'Erlanger to change his mind and donate them to the Spanish government instead.

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