- Cronología
- Ca. 1810
- Dimensiones
- 160 x 220 mm
- Técnica y soporte
- Aguafuerte, punta seca y buril
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 13 Jan 2011 / 01 Jun 2023
- Inventario
- 225
See Sad forebodings of what is to come..
We know of only one proof of this engraving, as Goya discarded the plate, probably due to technical imperfections. Perhaps it was one of the first engravings in the series and he felt more insecure.
This proof belonged to Valentín Carderera, later became part of the Stirling collection and was acquired by the Museum of Fine Arts in Boston in 1951.
In the interior of a somewhat inconcrete space in which part of an arch can be seen, although it could also be a cave, a group of French soldiers struggle with some men who are defending the women who are accompanying them. On the left of the engraving a French soldier holds a sword, while in the centre a woman with her back to him in a white dress watches as a French soldier tries to kill a man. In the background a female figure pleads for help.
Although we do not know where in the Disasters of War serie in which the print Infamous Profit was placed, it is likely that it was among the prints dealing with the horrors of war. It may have been very close to engravings no. 13, Bitter Presence and no. 19 and There is No Time, in which Goya has depicted scenes in which women are being defended by men seeking to prevent rape.
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Ydioma universal: Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1996from September 19th to December 15th 1996cat. 208
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Bibliography']['number
MadridMuseo del Prado1954n. 151
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Goya engravings and lithographs, vol. I y II.Bibliography']['numberOxfordBruno Cassirer1964cat. 203
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Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970cat. 1140
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Goya. In the Norton Simon MuseumBibliography']['numberPasadenaNorton Simon Museum2016pp. 114-151
