Francisco de Goya

Landscape with Cliff, Buildings and Trees (Paisaje con peñasco, edificios y árboles)

Landscape with Cliff, Buildings and Trees (Paisaje con peñasco, edificios y árboles)
Datos Generales
Ca. 1812
168 x 282 mm
Técnica y soporte
Etching, burnished aquatint and burin
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
18 Jun 2012 / 14 Apr 2021

See The Blind Guitarrist.

In 1810, Goya divided the copperplate of this work in two to make etchings no. 14, The way is hard!, and no. 15, And it can't be helped of his Disasters of War series.

Very few state proofs for this etching exist. It belonged to the Valentín Caderera Collection until 1867.

The preparatory drawing for this print is in the Prado Museum.

Análisis artístico

In the foreground, Goya has etched a withered tree, still with some branches at the top, stretching diagonally up and across to the upper right-hand corner of the composition. That side of the print is occupied by a large rock which juts out into the centre and which partially obscures the buildings behind it. Also in the foreground, on the left-hand side, we can see a horse and, nearby, a group of people.

The painter has used aquatint to capture the darkening sky at the very top of the image, within which a brighter section has been left open in the centre. His etching of the rock or mountain shows it as a solid, heavy shape, whilst the buildings at the top of the picture appear lighter and more luminous.

This etching, one of the few landscapes that Goya made during his whole artistic career, displays certain similarities to a painting that has traditionally been attributed to him: City on a Rock. Both works feature the imposing presence of a huge, solid rock. In the painting, it is shown on the right-hand side, and perched on its summit is a man-made structure. These unsettling landscapes are anything but serene. Instead, they are images in which man is dwarfed by the natural world.

This rocky landscape can also be related to some of the locations depicted in Goya's Black Painting.


The plate for this etching has been divided in two. On their reverse we find prints no. 13, Bitter presence and no. 15, And it can’t be helped of the Disasters of War series, conserved in the National Chalcography Museum, Madrid (cat. 170).

  • Exposición de la obra grabada de Goya
    Sociedad Española de Amigos del Arte
    catalogue by Miguel Velasco Aguirre
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    catalogue Elena Páez Ríos
  • Francisco de Goya y Lucientes, 1746-1828: restrospective
    Musée Jacquemart-André
  • Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerte
    Biblioteca Nacional
    May - June 1978
  • Goya (1746-1828). Peintures-Dessins-Gravures
    Centre Cultural du Marais
    consultant editors Jacqueline et Maurice Guillard
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
  • Goya grabador
    Fundación Juan March
    consultant editors Alfonso E. Pérez Sánchez and Julián Gállego, from January 14th to March 20th 1994
  • Francisco de Goya: Maleri, Tegning, Grafikk
    from 10th to April 14th 1996
  • Goya artista de su tiempo y Goya artista único
    The National Museum of Western Art
    from December 1st to July 3th 1999
  • Aureliano de Beruete Y Moret
    Goya, grabador
    MadridBlass S.A.
    cat. 253
  • Tomás Harris
    Goya engravings and lithographs, vol. I y II.
    Bruno Cassirer
    cat. 23
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    cat. 748
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    cat. 64
Enlaces externos
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