Francisco de Goya

Not this time either (Tampoco)

Not this time either (Tampoco)
Datos Generales
Ca. 1812 - 1815
157 x 208 mm
Técnica y soporte
Aguafuerte, aguatinta bruñida, punta seca, buril y bruñidor
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
08 Dec 2010 / 28 Oct 2022

39 (on the lower left-hand corner)


See Sad presentiments of what must come to pass (Tristes presentimientos de lo que ha de acontecer).

The title was originally printed as Tan poco, although there are no surviving copies bearing this title as it was modified, erasing the n and writing the m in its place which is maintained in the definitive title.

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 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 are no surviving preparatory drawings for this print.

Análisis artístico

A Polish soldier sits calmly resting his head on his hand, contemplating the corpse of a hanged Spanish man with a serene, almost proud expression. The trousers of the dead man have fallen to his knees because his belt has been used in his own execution. Behind him there are other tree trunks from which more corpses are hung. As recorded by some travellers at the time, the dead bodies of hanged men were sometimes left hanging in the trees as a clear example to others.

Goya makes interesting use of aquatint in this work, leaving the central section of the print in white in order to highlight the line of trees and hanged men, perhaps suggesting that it continues beyond the compositional space.

Polish soldiers were employed in the French troops as they were famous for their merciless, bloodthirsty nature and coldness when confronting the enemy. Goya captures this is the print, depicting in great detail the face of the soldier who contemplates his macabre work with pleasure.

Despite the fact that the garrotte had replaced all other methods of execution from October 1809 onwards, it was common for French soldiers to hang Spaniards who were found in possession of a weapon. It was a quick execution method that avoided the bureaucratic processes associated with the death penalty by garrotte to which prisoners were supposed to be subjected.

Nature once again is complicit in the scene of violence and horror: the tree trunks on which the Spaniards are hanged seem dry, lifeless and capable of taking the lives of others.

The title of the print expresses the painter's perplexity: as in the case of print no. 34, On account of a knife (Por una navaja) the artist once again cannot explain to himself the brutality and inhumanity of the act he depicts. Similarly, in print no. 35 Goya underlines the banal nature of blame by plainly stating that One can't tell why (No se puede saber por qué).

This work shows that the artist was familiar with the work The Great Miseries of War (Les Grands Misères de la guerre) by Jacques Callot (Nancy, 1592 - Nancy, 1635) and in particular print no. 11, entitled The Hanging (La Pendaison). It shows a large tree in the centre of the composition from which numerous corpses hang, executed before the eyes of the army and the people. However, Goya varies the scale in his work, bringing the viewer closer to the figures so that we can see their faces and be moved by the atrocity of this act.


The plate is stored in the National Chalcography (cat. 287).

  • Goya. Drawings, Etchings and Lithographs
    Goya. Drawings
    from June 12th to July 25th 1954
  • De grafiek van Goya
    Rijksmuseum Rijksprentenkabinet
    from November 13th 1970 to January 17th 1971
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
  • Goya and the espirit of enlightment
    The Metropolitan Museum of Art
    New York
    scientific directors Alfonso E. Pérez Sánchez and Eleanor A. Sayre. From May 9th to July 16th 1989. Exhibited also in the Boston Museum of Fine Arts, from January 18th to March 26th 1989
  • Francisco de Goya: Maleri, Tegning, Grafikk
    from 10th to April 14th 1996
  • 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 en tiempos de guerra
    Museo Nacional del Prado
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Goya et la modernité
    Pinacothèque de Paris
    from October 11st 2013 to March 16th 2014
  • Goya: Order and disorder
    Museum of Fine Arts
  • Madrid
  • BERUETE Y MONET, Aureliano de
    Goya, grabador
    MadridBlass S.A.
    cat. 138
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    Oxford, Bruno Cassirer
    cat. 156
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    cat. 1051
  • PÉREZ SÁNCHEZ, Alfonso E. y SAYRE, Eleanor A. (directores) and MENA, Manuela B. (comisaria)
    Goya y el espíritu de la Ilustración
    MadridMuseo del Prado
    pp. 303-304, cat. 88
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    cat. 241
  • TRAEGER, Jörg
    Goya. Die Kunst der Freiheit
    MunichVerlag C. H. Beck
    p. 151, fig. 56
  • BLAS BENITO, Javier and MATILLA, José Manuel
    El Libro de los Desastres de la Guerra
    MadridMuseo del Prado
    II, pp. 73-76
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    BostonMuseum of Fine Arts Boston Publications
    p. 292
  • CALVO RUATA, José Ignacio, BORRÁS GUALIS, Gonzalo M. and MARTÍNEZ HERRANZ, Amparo
    ZaragozaGobierno de Aragón y Fundación Bancaria Ibercaja
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    p. 137
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    pp. 114-151
Enlaces externos
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