Francisco de Goya

It Will Be the Same (Será lo mismo)

It Will Be the Same (Será lo mismo)
Datos Generales
Ca. 1810 - 1812
148 x 218 mm
Técnica y soporte
Etching and burnished lavis
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
01 Dec 2010 / 27 Jul 2017

Goya (lower left-hand corner), 25 (lower left-hand corner).


See Sad presentiments of what must come to pass.

The second artist's proof shows that Goya etched his signature into the lower left-hand corner of the plate.

The title was handwritten on the print by Goya on the first and only series that we know was produced at the time of its creation, which the artist gave to his friend Agustín Ceán Bermúdez. Therefore, the title was etched into the plate at a later date and left unchanged as of the first edition of the Disasters of War printed by the San Fernando Royal Academy of Fine Arts in Madrid in 1863, after the printing of the series in the possession of Ceán Bermúdez.

There is a surviving preparatory drawing for this print which is housed in the Prado Museum in Madrid.

Análisis artístico

In this print Goya depicts a scene that is probably taking place at night, given the extreme darkness of the setting. The print shows men trying to carry away some corpses. On the right, two men are holding a body wrapped in a white sheet that has been given great pictorial depth. Next to these two men in the middle ground, a figure covered from head to foot - perhaps a female relative of one of the dead - covers her face with her hands. On the left-hand side of the print are three more dead bodies.

The title of the print highlights the futility of moving the bodies, since taking them somewhere else will be no different to leaving them where they are: there is nothing that can be done.

This image must be understood in the context of print no. 22,All This and More, and nº 23,The Same Elsewhere, in which the artist also represents open spaces littered with piles of corpses. In both cases, the scenes have a markedly horizontal composition that transmits a strong sensation of stillness and peace, as well as a sense of sepulchral silence.

The moving of corpses after a battle is a theme also dealt with by Fernando Brambila (Cassano d'Adda, 1763-Madrid, 1832) and Juan Gálvez (Mora, Toledo, 1774-Madrid, 1847) in the print entitled Second Ruin of the Interior of the Church of the General Hospital (Ruina segunda del interior de la yglesia del hospital general) (ca. 1812-1813, Lázaro Galdiano Museum, Madrid).


The plate is stored in the National Chalcography (cat. 272)

  • Goya and his times
    The Royal Academy of Arts
    cat. 66
  • De grafiek van Goya
    Rijksmuseum Rijksprentenkabinet
    from November 13th 1970 to January 17th 1971
  • Francisco de Goya
    Museo d'Arte Moderna
    exhibition celebrated from September 22nd to November 17th.
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    from November 21st 1996 to January 1997
  • Francisco Goya. Capricci, follie e disastri della guerra
    San Donato Milanese
    Opere grafiche della Fondazione Antonio Mazzotta
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya et la modernité
    Pinacothèque de Paris
    from October 11st 2013 to March 16th 2014
  • Goya, grabador
    Aureliano de Beruete Y Moret
    cat. 123
    Blass S.A.
  • Goya engravings and lithographs, vol. I y II.
    Tomás Harris
    cat. 141
    Bruno Cassirer
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    cat. 1027
    Office du livre
  • Catálogo de las estampas de Goya en la Biblioteca Nacional
    Elena M. (Coordinadora) Santiago
    cat. 219
    Ministerio de Educación y Cultura, Biblioteca Nacional
Enlaces externos
Obra relacionada
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