Francisco de Goya

Treat them, then on to other matters (Curalos, y á otra)

Clasificación
Treat them, then on to other matters (Curalos, y á otra)
Datos Generales
Cronología
1810
Dimensiones
162 x 237 mm
Técnica y soporte
Aguafuerte, buril, lavis y bruñidor
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
01 Dec 2010 / 27 Jul 2017
Inscripciones

Goya 1810 (lower left-hand corner, obscured by the etched lines), 8 (lower left-hand corner).

Historia

Véase Sad presentiments of what must come to pass.

In the second state proof of the second etching, the original design was extensively retouched, with the area that had previously been left unworked in the foreground on the right-hand side filled in. There are some burnished foul bites visible on the figures.

The title was handwritten by Goya on the first and only print run that we know to have been made at the time, and which the painter gave to his friend Agustín Ceán Bermúdez. The title was engraved on to the copperplate at a later date, and no other modifications were made to the image for the first edition of the Disasters of War, which was printed by the Royal Academy of Fine Arts of San Fernando, Madrid, in 1863.

We can see how a correction was made to the title, adding the letter ‘y' where an ‘i' had probably been engraved initially.

This is one of the few etchings in the series, along with All this and more and Charity, to be dated by the artist.

There are two preparatory drawings for this work in the Prado Museum.

Análisis artístico

Treat them, then on to other matters depicts the treatment received by those wounded in the war. In the background we can see two men holding up a wounded soldier from behind. Slightly further back another, slumping figure is receiving aid.

The scene takes place outdoors, in daylight and, just as occurs in other etchings in the Disasters of War series, the natural environment is an inhospitable one. The trees appear barren, their branches hanging down, almost without life. Such surroundings make the ideal setting in which to stage these scenes of death and destruction.

The artist has used the etching process repeatedly, especially on the left-hand side of the print, which is visually heavier than the right-hand side. The left of the image features a dark, solid rock, which contrasts sharply with the clear sky shown on the right.

The scene is a depiction of false piety, in which the aid is not given disinterestedly, and the purpose of it is to get the injured men patched up as quickly as possible so that they can prove useful again to the war effort. Nobody appears at all interested in the corpses that we can see in the etching's background, starkly lit by Goya.

This same subject matter is addressed in other etchings in the series, including no. 24, They'll still be useful and no. 25, So will these.

Conservación

La plancha se conserva en la Calcografía Nacional (cat. 271)

Exposiciones
  • Goya and his times
    The Royal Academy of Arts
    London
    1963
    cat. 66
  • 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 de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • 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
    Paris
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • Goya, grabador
    Aureliano de Beruete Y Moret
    cat. 122
    1918
    Blass S.A.
  • Goya engravings and lithographs, vol. I y II.
    Tomás Harris
    cat. 140
    1964
    Bruno Cassirer
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    cat. 1024
    1970
    Office du livre
  • Catálogo de las estampas de Goya en la Biblioteca Nacional
    Elena M. (Coordinadora) Santiago
    cat. 217
    1996
    Ministerio de Educación y Cultura, Biblioteca Nacional
Enlaces externos
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