Francisco de Goya

To the cemetery (Al cementerio)

Clasificación
To the cemetery (Al cementerio)
Datos Generales
Cronología
Ca. 1812 - 1815
Dimensiones
156 x 208 mm
Técnica y soporte
Etching, lavis and drypoint
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
19 Dec 2010 / 14 Apr 2021
Inscripciones

30 (on the lower left-hand corner of the plate).

Historia

See Sad presentiments of what must come to pass.

The second artist's proof shows horizontal lines that shade in an area between the elbow and thigh of the figure located on the far right of the print.

The title was handwritten on the print by Goya in the first and only series that is known to have been printed at the time the works were created, which the artist gave to his friend Agustín Ceán Bermúdez. Therefore, the title was etched into the plate at a later date and left unchanged as of the first edition of the Disasters of War printed by the San Fernando Royal Academy of Fine Arts in Madrid in 1863, after the printing of the series in the possession of Ceán Bermúdez.

There is a surviving preparatory drawing for this print which is housed in the Prado Museum in Madrid.

Análisis artístico

Two men are carrying a body. One of the men, shown side-on, is carrying the legs of the body, while the other placed further into the background grasps the corpse by the waist, causing the head of the corpse to slump forward, obscuring the face. In the background there is another lifeless body waiting to be taken to the cemetery. A short distance behind this figure, a woman holds a child in her arms.

The image depicts the transport of dead bodies to the cemetery, one of the greatest problems following the massive increase in deaths caused by the famine of 1811 to 1812. For public health reasons, it was prohibited to take corpses to churches or chapels, and it was decided that all bodies should be deposited in public cemeteries on the outskirts of the city.

Juan Carrete suggests that this image of two men carrying a body could be read as a secular interpretation of the burial of Christ. He even proposes a possible source of inspiration for the print: The Entombment of Christ by Caravaggio (Milan, 1571 - Port Ercole, 1610) which Goya might have seen either during his trip to Italy between 1769 and 1771 or by means of a print reproducing the work.

Conservación

The plate is stored in the National Chalcography (cat. 307).

Exposiciones
  • Goya and his times
    The Royal Academy of Arts
    London
    1963
    cat. 66
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Francisco de Goya: Maleri, Tegning, Grafikk
    Nasjonalgalleriet
    Oslo
    1996
    from 10th to April 14th 1996
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    Bern
    1996
    from November 21st 1996 to January 1997
  • Francisco Goya. Capricci, follie e disastri della guerra
    San Donato Milanese
    2000
    Opere grafiche della Fondazione Antonio Mazzotta
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    Legnano
    2006
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • Aureliano de Beruete Y Moret
    Goya, grabador
    MadridBlass S.A.
    1918
    cat. 158
  • Tomás Harris
    Goya engravings and lithographs, vol. I y II.
    Bruno Cassirer
    1964
    cat. 176
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    cat. 1086
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 267
Enlaces externos
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