- Cronología
- Ca. 1812 - 1815
- Dimensiones
- 157 x 209 mm
- Técnica y soporte
- Aguafuerte, aguatinta bruñida y bruñidor
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 13 Dec 2010 / 12 Dec 2022
- Inventario
- 225
40 (on the lower left-hand corner).
See Sad presentiments of what must come to pass.
The title was handwritten on the print by Goya in the first and only series that is known to have been printed at the time the works were created, 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 after the printing of the series in the possession of Ceán Bermúdez. This edition was printed by the San Fernando Academy of Fine Arts in Madrid in 1863.
There is a surviving preparatory drawing for this print which is housed in the Prado Museum.
As in print no. 42, Everything is topsy-turvy (Todo va revuelto), Goya creates a scene showing the flight of clergymen who, following their absence from previous prints, now take on an important role in the series.
The image is very similar to no. 42, although the figures in this image are seen from behind. The monks are shown fleeing in the foreground, while in the background near a mountain there is a large group of people who, unflinching, assist in the expulsion.
Juan Carrete Parrondo believes that both this print and the previous one might allude to the decree establishing the suppression of religious orders issued by Joseph Bonaparte, which came into effect on 18 August 1809. Tomás Harris highlights the similarities between these two prints and the Emphatic Caprices (Caprichos enfáticos). Jesusa Vega links them to Goya's drawings from Album C, which show the expulsion of the religious orders.
La plancha se conserva en la Calcografía Nacional (cat. 294).
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.p. 160, cat. 43
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997cat. 127
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Francisco Goya. Capricci, follie e disastri della guerraSan Donato Milanese2000Opere grafiche della Fondazione Antonio Mazzottacat. 123
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Goya. Opera graficaPinacoteca del Castello di San GiorgioLegnano2006exhibition celebrated from December 16th 2006 to April 1st 2007p. 72
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 82
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Goya, grabadorBibliography']['numberMadridBlass S.A.1918cat. 145
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Goya engravings and lithographs, vol. I y II.Bibliography']['numberOxfordBruno Cassirer1964cat. 163
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Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970cat. 1062
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Catálogo de las estampas de Goya en la Biblioteca NacionalBibliography']['numberMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996cat. 250
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Bibliography']['number
ParísPinacoteca de París2013p. 141
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Goya. In the Norton Simon MuseumBibliography']['numberPasadenaNorton Simon Museum2016pp. 114-151
