Francisco de Goya

Not in this case either (Tampoco)

Clasificación
Not in this case either (Tampoco)
Datos Generales
Cronología
Ca. 1810 - 1815
Dimensiones
150 x 216 mm
Técnica y soporte
Etching and burin
Reconocimiento de la autoría de Goya
Undisputed work
Ficha: realización/revisión
28 Nov 2010 / 14 Apr 2021
Inscripciones

Goya (in reverse, lower right-hand corner).

(1)9 (lower left-hand corner).

Historia

See Sad presentiments of what must come to pass.

The second state proof for this print features some retouching in burin on the heads and in the foreground.

The title was handwritten by Goya on the first and only print run that we know to have been made at the time, and which the painter gave to his friend Agustín Ceán Bermúdez. The title was engraved on to the copperplate at a later date, and no other modifications were made to the image for the first edition of the Disasters of War, which was printed by the Royal Academy of Fine Arts of San Fernando, Madrid, in 1863.

No preparatory drawings for this print have been conserved.

Análisis artístico

In this print Goya has captured the moment when several French soldiers are attacking and attempting to rape a group of women. The different bodies twist and tangle together, creating a shapeless mass in which it is difficult to distinguish individual figures.

The Aragonese artist has situated the scene in an outdoor setting, at night. Both the background and the clothes of the male figures have been built up using parallel etched lines packed very closely together. The women, on the other hand, are dressed in white, perhaps in allusion to their innocence. In the foreground the artist has placed a female figure who is being violently seized by a soldier. Forced into an unnatural, contorted position, she lets out a cry of pain.

Not in this case either can be related to those prints in this same series that deal with violence committed upon women during wartime and, more specifically, to the previous print, no. 9, They do not want to and to the one that follows, no. 11, Or these. In these three images, Goya seems to have constructed a sense of continuity, further emphasized by the works' titles.

Conservación

The etching plate is conserved in the National Chalcography Museum (cat. 261)

Exposiciones
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    Bern
    1996
    from November 21st 1996 to January 1997
  • Francisco Goya. Capricci, follie e disastri della guerra
    San Donato Milanese
    2000
    Opere grafiche della Fondazione Antonio Mazzotta
  • Goya. La imagen de la mujer
    Museo Nacional del Prado
    Madrid
    2001
    from October 30th 2001 to February 10th 2002. Exhibitied also at the National Gallery of Art, Washington, March 10th to June 2nd 2002, consultant editor Francisco Calvo Serraller
  • Goya. Opera grafica
    Pinacoteca del Castello di San Giorgio
    Legnano
    2006
    exhibition celebrated from December 16th 2006 to April 1st 2007
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Goya: Order and disorder
    Museum of Fine Arts
    2014
Bibliografía
  • Aureliano de Beruete Y Moret
    Goya, grabador
    MadridBlass S.A.
    1918
    cat. 112
  • Tomás Harris
    Goya engravings and lithographs, vol. I y II.
    Bruno Cassirer
    1964
    cat. 130
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    cat. 1006
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 197
  • Raquel Gallego
    Goya. Los desastres de la guerra, l
    BarcelonaLa Central
    2011
    p. 24
Enlaces externos
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