When a musical work such as the Goyescas is so explicitly related to painting, one is tempted to look before listening. However, the scenes corresponding to the six Goyescas by Granados are not to be found in Goya's paintings. In fact, only one of the Goyescas directly relates to a specific painting: The famous "Pelele" (The Puppet), which Granados used as a model for the opera version later written in New York, as a complement to the suite. For this version the theatrical considerations imposed a dialogue between music and scenery and, hence, also with the painting.

Goyescas are often considered to be inspired by the frescos of the Chapel of San Antonio de la Florida, painted in Madrid in 1797. However, a very lively imagination would be necessary to see the central theme of Goyescas in this holy episode. In fact, around this scene, Goya has arranged a crowd of little characters painted in trompe-l'oeil fashion who are watching the scene from their balconies. They are the people of Madrid who, at the sight of the miracle, demonstrate a wide range of feelings: astonishment, incredulity, devotion, in-difference, fear or hate.

Goyescas might also refer to the famous paintings used as tapestry designs, representing three individual periods; the first two being of the artist's youth, when his inspiration was still fuit of bright cheer and colors, the last representing a much later, darker period in the artist's life. Here again, one could hardly find a link between Granados and these scenes from an increasingly unreal world.

The inspiration for the Goyescas is, therefore, not to be found in Goya's pictures but rather in the common world view shared by the two artists. Granados views his surroundings as Goya would have, only using the tools of a musician in full artistic independence. This view causes him to choose brief, possibly anecdotal scenes which reflect his personal vision of an already ancient Spain -still alive, however, through its spirit and musical forms.
These intimate sketches might also recall other places as well, such as Greuze's 18th-century France or Hogarth's England or even unremarkable scenes which German romanticism set to music in its "Lieder".

The sub-title of Goyescas, "Los Majos enamorados" underlines this romantic theme. One encounters very few couples in Goya's works, the sensuality of which is most discreet in comparison to, for instance, the works of 18th-century France. Goya's Spain is still ruled by the rigid traditions inherited from Charles V and his son, Philip II, whereas Granados could address themes which were forbidden during the painter's time. "Los Majos enamorados" should therefore not to be considered an illustration of Goya's works but rather as an original theme treated in Goya's style.

Granados is not a musician oriented to the past ; his inspiration and style show him to be a man of the late 19th or even the early 20th century. Goyescas, written in 1911, carry romantic and post-romantic traits. Like Albeniz, Granados also studied in Europe and composed in Paris, where he became acquainted with Debussy and Ravel.

The Spanish musical style of the last century reflects a search for the picturesque, for colors and strong, contrasting emotions - a fashionable influence which was difficult for an artist of that time to avoid. Here one thinks of composers such as Bizet, Chabrier or Lalo, just to speak of the French school. The Spanish school was, nevertheless, on the decline at that time, more and more contented to simply parody the Italian styles. In the second half of the century traditions were rediscovered by a few pioneers, particularly in the Manifest of 1891 by the Catalan Pedrell. This movement drew its inspiration both from folklore and academic musical studies. Pedrell's works considerably influenced Albeniz, Fall and Granados, who were all at least partly Catalan, as was Pedrell.

While the European's thoughts of Spain traditionally center around Andalusia, the real Spain of Enrique Granados lies elsewhere. This music is less accessible because its sources are grounded in Spanish reality and is therefore less well known outside the Hispanic world.
Granados has the ability to express this reality, to fill a work with true human experience, thus complementing the cosmopolitanism of an Albeniz rather than opposing it.

Energy, causticity, grace, sensuality, drama and passion, together with reserve and dignity, are the essential features of Goyescas. Granados proves himself to be a great romanticist in his incorporation of these themes. There are few traces of folklore: Spain only appears through certain forms and rhythms and remains largely hidden to all but those who know it well. Here Granados portrays his very personal lyricism.

The composer himself comments:
"I want to express a personal note in the Goyescas, a mixture of bitterness and grace, whereby none of these movements should prevail through over-inventiveness. Rhythm and color, typical Spanish life in which love and passion occur as suddenly as drama and tragedy - a palette of emotions therefore, such as appear in Goya's works."