- Ca. 1810 - 1815
- The Prado National Museum. Madrid, Madrid, Spain
- 145 x 198 mm
- Técnica y soporte
- Sanguine on paper
- Reconocimiento de la autoría de Goya
- Undisputed work
- El Prado National Museum
- Ficha: realización/revisión
- 25 Nov 2012 / 14 Apr 2021
- (D.4345 recto)
4 (lower left-hand corner).
This drawing, just like the set of preparatory drawings made for the other prints in the series, formed part of the Carderera collection before arriving at the Prado Museum, where it is currently housed.
Goya made this drawing before transferring the design to the etching plate. By this stage he already appears to have had a clear idea in mind of the end result, and very few changes were subsequently introduced. In the drawing, the woman's body is slightly smaller in relation to the cannon. In the final etching, Goya kept the cannon the same size and made the female figure larger. We can see another difference in the pile of bodies that the woman is standing on. In the drawing, behind the body shown in the foreground, we can make out another body, with raised and parted legs. Goya may have decided to use this posture for the figure in print no. 30, Ravages of war, in which we see a woman with her knees bent and her legs apart, rather than include it in the finished print of this design.
Los dibujos de GoyaMuseo Provincial de ZaragozaZaragoza1978exhibition organized by Museo Provincial de Zaragoza, Ministerio de Cultura and Ayuntamiento de Zaragoza, exhibition guide written by Miguel Beltrán Lloris and Micaela Pérez Sáenz. October 1978cat. 66
Francisco de Goya: Maleri, Tegning, GrafikkNasjonalgallerietOslo1996from 10th to April 14th 1996cat. 42
Vie et ouvre de Francisco de GoyaParísOffice du livre1970cat. 1001
Dibujos de Goya, 2 volsBarcelonaNoguer1975cat. 169