- 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.
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 GoyaSociedad Española de Amigos del ArteMadrid1928catalogue by Miguel Velasco Aguirrecat. 36
Grabados y dibujos de Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1946catalogue Elena Páez Ríoscat. 121
Francisco de Goya y Lucientes, 1746-1828: restrospectiveMusée Jacquemart-AndréParís1961cat. 252
Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerteBiblioteca NacionalMadrid1978May - June 1978cat. 131
Goya (1746-1828). Peintures-Dessins-GravuresCentre Cultural du MaraisParís1979consultant editors Jacqueline et Maurice Guillardcat. 101
Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 219
Goya grabadorFundación Juan MarchMadrid1994consultant editors Alfonso E. Pérez Sánchez and Julián Gállego, from January 14th to March 20th 1994p. 234
Francisco de Goya: Maleri, Tegning, GrafikkNasjonalgallerietOslo1996from 10th to April 14th 1996cat. 126
Goya artista de su tiempo y Goya artista únicoThe National Museum of Western ArtTokyo1999from December 1st to July 3th 1999cat. 156
Goya, grabadorMadridBlass S.A.1918cat. 253
Goya engravings and lithographs, vol. I y II.Bruno Cassirer1964cat. 23
Vie et ouvre de Francisco de GoyaParísOffice du livre1970cat. 748
Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996cat. 64