- Cronología
- Ca. 1810 - 1812
- Dimensiones
- 163 x 260 mm
- Técnica y soporte
- Etching and burnisher
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 02 Dec 2010 / 02 Jun 2023
- Inventario
- 225
Goya (lower left-hand corner), 12 (lower left-hand corner).
See Sad presentiments of what must come to pass.
The first artist's proof shows the retouches carried out before the writing and signature were added with burin on the lower left-hand corner.
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.
A battle has just ended next to a fortress, leaving various wounded men who are being assisted by others. In the foreground, two men are picking up the body of a badly injured soldier, while further back another two men are carrying another soldier on an improvised stretcher. In the background on the left two men are carrying the body of another injured man.
Goya uses dense, horizontal etched marks to create a vast black area below on the right-hand side of the print, which contrasts with the bright, cloudless sky and the clothes of the figures in the composition. The faces of the figures have been captured with precision, displaying a wide range of expressions of pain, agony, anguish, desolation, and so on.
This piece refers back to print no. 20, Treat them, then on to other matters the artist also revisits the theme in print no. 25, These Too, reiterating the idea that the wounded were often rescued and assisted in order to send them forth into battle once more.
The plate is stored in the National Chalcography (cat. 275)
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Goya and his timesThe Royal Academy of ArtsLondon1963cat. 66cat. 240
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.cat. 24
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997cat. 112
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Ydioma universal: Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1996from September 19th to December 15th 1996cat. 212
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Francisco Goya. Capricci, follie e disastri della guerraSan Donato Milanese2000Opere grafiche della Fondazione Antonio Mazzottacat. 104
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Goya. Opera graficaPinacoteca del Castello di San GiorgioLegnano2006exhibition celebrated from December 16th 2006 to April 1st 2007p. 63
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 63
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Goya, grabadorBibliography']['numberMadridBlass S.A.1918cat. 126
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Goya engravings and lithographs, vol. I y II.Bibliography']['numberOxfordBruno Cassirer1964cat. 144
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Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970cat. 1033
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Catálogo de las estampas de Goya en la Biblioteca NacionalBibliography']['numberMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996cat. 224
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Bibliography']['number
ParísPinacoteca de París2013p.131
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Goya. In the Norton Simon MuseumBibliography']['numberPasadenaNorton Simon Museum2016pp. 114-151
