- Ca. 1810 - 1815
- The Prado National Museum. Madrid, Madrid, Spain
- 181 x 218 mm
- Técnica y soporte
- Sepia wash and black pencil on thick laid paper
- Reconocimiento de la autoría de Goya
- Undisputed work
- El Prado National Museum
- Ficha: realización/revisión
- 29 Nov 2010 / 25 May 2023
- (D5355 verso)
2 (lower left-hand corner).
See Sad presentiments of what must come to pass.
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.
This sketch differs noticeably from etching no. 15, And it can't be helped, the work for which it serves as a preparatory study. Unlike other prints in this series, in which Goya remains fairly faithful to his original ideas, in this case the artist went on to make some significant changes in the final print. Although it is difficult to make out here in the drawing exactly what he has sketched, particularly due to the way in which he has worked using large splodges of ink, we can clearly see a man tied to a post with his eyes covered by a blindfold. In front of him we see a figure that disappears in the finished work, holding a crucifix in his hand. Furthermore, the group in the background, the firing squad preparing to execute the two other men tied to posts, is less brightly lit than in the etching; they are little more than a dark shape here.
When thinking about how the image would translate to the print, Goya probably decided to give this group more emphasis within the scene by making the outlines of the other two prisoners in the background bolder and clearer.
Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980Cat. 81
Vie et ouvre de Francisco de GoyaParísOffice du livre1970cat. 1016
Dibujos de Goya, 2 volsBarcelonaNoguer1975cat. 175
El mundo de Goya en sus dibujosMadridUrbión1979pp. 138-139