Francisco de Goya

Shootings in a Military Camp (Fusilamiento en un campo militar)

Shootings in a Military Camp (Fusilamiento en un campo militar)
Datos Generales
Cronología
Ca. 1808 - 1810
Ubicación
Marquis of La Romana Collection, Madrid, Spain
Dimensiones
33 x 57 cm
Técnica y soporte
Oil on canvas
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Marquis of La Romana Collection
Ficha: realización/revisión
11 May 2010 / 28 Jul 2017
Historia

The complete series of eleven paintings was acquired from Goya by the Majorcan collector Juan de Salas, father of Dionisia Salas y Boxadors, who was married to Pedro Caro y Sureda (Palma de Mallorca, 1761-Cartaxo, Portugal, 1811), III Marquis of La Romana.

The painting was inherited by its current owners.

Análisis artístico

Due to its dimensions and to the use of an orange-coloured preparation on the canvas, this work can be connected to Gypsy Cave and Interior of a Hospital.

This scene takes place at night inside a military camp. On the left-hand side stands a red tent, adorned with standards and banners. On the ground are a number of dead soldiers wearing blue coats with red and white cuffs and ochre-coloured trousers, telling us that they belong to one of the Spanish regiments active during the Spanish War of Independence. Running towards them is a group of civilians, modestly dressed commoners. Two of them are carrying a wounded man and, slightly further behind, a woman dressed in yellow, drawing our gaze into the centre of the composition, is clinging on to her naked child. With an expression of horror on her face, she is turning her head to look back at the platoon of soldiers behind her, just as they open fire. These other soldiers are part of a foreign army, probably belonging to the forces of Napoleon.

The only source of light in the painting is the flashes of the rifle shots, a detail which further heightens the drama of the scene. The group of civilians was probably trying to find shelter in the Spanish camp, which had been taken by surprise by the French soldiers, who show no mercy to these innocent people, either.

Just as occurs in Third of May, the executioners do not show their faces and have their backs turned to the viewer. This is a device that Goya also used in some of the etchings in the Disasters of War series (no. 2, With or without reason, and no. 32, Why?, for example).

Similarly, the woman who is trying to protect her child connects this work to another of the etchings in this same series, no. 4, entitled I saw this.

Exposiciones
  • Goya 1900
    Ministerio de Instrucción Pública and Bellas Artes
    Madrid
    1900
    consultant editors Aureliano de Beruete, Alejandro Ferrant, Marqués de Pidal and Ricardo Velázquez. May 1900
  • Pinturas de Goya
    Museo Nacional del Prado
    Madrid
    1928
    consultant editor Fernando Álvarez de Sotomayor. From April to May 1928
  • Goya. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturas
    Museo Nacional del Prado
    Madrid
    1993
    from November 18th 1993 to February 15th 1994. Exhibited also at the Royal Academy of Arts, London, March 18th to June 12th 1994 and The Art Institute of Chicago, Chicago, July 16th to October 16th 1994, consultant editors Manuela B. Mena Marqués and Juliet Wilson-Bareau
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 250, cat. 222
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 263, cat. 921
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, pp. 294 y 295, cat. 355
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    cat. 495
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. III, p. 191
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    Manuela B. (comisaria) Mena Marqués and Juliet (comisaria) Wilson-Bareau
    pp. 282, 283, 284, 285, 286 y 287 (il.),
    1993
    Museo del Prado
  • Goya en tiempos de guerra
    Manuela B. (comisaria) Mena Marqués
    pp. 234, 235, 236 (il.) y 237, cat. 53
    2008
    Museo Nacional del Prado
Enlaces externos
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