The Dead Don't Etch, Goya -Disasters of War- Forgeries from the National Gallery of Canada

NOTE: Footnotes are enclosed with [FN ]. 

*Updated on March 16, 2010 with an Addendum

National Gallery of Canada's description: "Francisco Goya y Lucientes, What Courage!, c. 1810-1813, etching, aquatint, drypoint, burin, and burnishing on heavy wove paper, Printed by Laurenciano Potenciano, 24.5 x 33.8 cm; plate: 15.5 x 21 cm, Purchased 1933, National Gallery of Canada (no. 4130)"

 http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9649

POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE

All of the National Gallery of Canada's 80 so-called "Francisco Goya y Lucientes, The Disasters of War" -etchings- are posthumously (after 1863) reworked and altered forgeries.

Francisco Goya y Lucientes died in 1828. The dead don't etch.

This monograph will document that:

1. NGC's "Disasters of War" are posthumous forgeries,
2. Posthumously forged with aquatint,
3. Posthumously forged with lines,
4. Posthumously forged with titles,
5. 80,000 or more of never ending editions, and
6. Ethics that are preached not practiced.

INTRODUCTION
On page 660 of the Seventh Edition of Black's Law Dictionary, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if geniune."[FN 1] 

The National Gallery of Canada's 80 posthumously reworked and altered "Disasters of War" forgeries (See ADDENDUM below for complete list) are part of a so-called edition of 500 totaling 40,000 non-disclosed forgeries by the Real Academia de Bellas Artes de-San Fernando, printed by Laurenciano Potenciano and produced at the Calcografía Nacional in 1863.[FN 2]

The International Fine Print Dealer of America defines an -original print-, such as an etching, as "a work of art on paper which has been conceived by the artist to be realized as a print, rather than as a reproduction of a work in another medium."[FN 3]

In 1863, a dead Goya (d 1828) could not have conceived one etching, much less 40,000.

These National Gallery of Canada's 80 posthumously reworked and altered "Disasters of War" forgeries are now on loan, for a $6,000 exhibition fee,[FN 4] to the Art Gallery of Alberta for their January 31-May 30, 2010 Francisco Goya: The Disasters of War and Los Caprichos exhibition.

Yet, for the $12 price of adult admission and other monetary considerations, the Art Gallery of Alberta would have the public believe these 80 posthumously reworked and altered "Disasters of War" forgeries are part of an: "exhibition features Francisco Goya's infamous print suites: Los Caprichos and The Disasters of War (1810-1820). Created on the eve of the close of the 18th century, Los Caprichos focuses on themes related to the Spanish Inquisition - The Disasters of War, created by Goya only a decade later, documents the brutality of the Peninsular War and the atrocities that mankind inflicts upon itself. Together these two bodies of work have come to be seen as the most influential graphic series in the history of Western art."[FN 5]

Nothing could be further from the truth.

"Francisco Goya y Lucientes, The Disasters of War, 1863, book containing 80 etchings on wove paper, formerly bound in marbled-paper cardboard covers with title-page and introduction, Printed by Laurenciano Potenciano" 24.5 x 33.8 cm; plate: 17.5 x 21.9 cm, Purchased 1933, National Gallery of Canada (no. 4124-4203)

http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=39080
POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE

1. NGC's "DISASTERS OF WAR" ARE POSTHUMOUS FORGERIES
The National Gallery of Canada knows there so-called "Disasters of War" etchings were posthumously forged in 1863, some thirty-five years after Francisco Goya y Lucientes' death in 1828.

These three references, from the National Gallery of Canada's collection, website confirms that fact:

1. "Francisco Goya y Lucientes, The Disasters of War, 1863," http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=39080
2. "In the left section of an early proof of this print, the artist depicted an allegorical figure of Justice with her scales, all but obliterated in the published edition of 1863," and http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9587
3. "Disasters of War and Disparates (Follies) (published only in 1863 and 1864)." http://cybermuse.gallery.ca/cybermuse/docs/bio_artistid2127_e.jsp

ABOUT THE NATIONAL GALLERY OF CANADA
The National Gallery of Canada states its' museum "is one of the world's most respected art institutions, renowned for its exceptional collections, revered for its scholarship, and applauded for its unique ability to engage audiences of all ages and all levels of artistic knowledge."[FN 6]


Yet, despite those three references, the National Gallery of Canada promotes all their 80 posthumous reworked and altered "Disasters of War" forgeries, listed online in their collection, as original works of art ie., "etchings" with dates (1810-1823) that predates Goya's death in 1828.


In other words, if the public was not fortunate enough to come across those three references, they would have little to no idea that they were viewing 80 posthumous (after 1863) "Disasters of War" forgeries falsely attributed as etchings by Francisco Goya y Lucientes (d 1828).


Remember, the dead don't etch.

This factual perspective is confirmed by the following three sources:

1. In The Fifth Edition of the Artist`s Handbook of Materials and Techniques by Ralph Mayer, the author writes: "The major traditional graphic-arts processes of long standing and continued popularity are lithograph, etching, drypoint, woodcutting or wood engraving, aquatint, and soft-ground etching. ...The term `graphic arts` excludes all forms of mechanically reproduced works photographed or redrawn on plates; all processes in which the artist did not participate to his or her fullest capacity are reproductions."[FN 7]
2. In A GUIDE TO THE COLLECTING AND CARE OF ORIGINAL PRINTS sponsored by the The Print Council of America and authored by Carl Zigrosser and Christa M. Gaehde, the authors write: "An original print is a work of art, the general requirements of which are: a. The artist alone has created the master image in or upon the plate, stone, wood block or other material, for the purpose of creating the print. b. The print is made from the said material, by the artist or pursuant to his directions. c. The finished print is approved by the artist."[FN 8]
3. In U.S. Custom`s May 2006 An Informed Compliance Publication titled Works of Art, Collector`s Pieces Antiques, and Other Cultural Property, it states: "The expression original engravings, prints and lithographs means impressions produced directly, in black and white or in color, of one or of several plates wholly executed by hand by the artist, irrespective of the process or of the material employed by him, but excluding any mechanical or photomechanical process."[FN 9]

"Los Desastres de la Guerra (The Disasters of War) / Que valor! (What courage!), Plate 7: young woman standing on mound of corpses, lighting cannon fuse; from a bound album of working proofs, presented by the artist to Ceán Bermúde, 1810-12, Etching, drypoint, burin and burnisher, AN37955001, © The Trustees of the British Museum, Department: Prints & Drawings, Registration number: 1975,1025.421.9, Bibliographic reference Delteil 126 Harris 127.I.3"
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1333694&partid=1&searchText=goya&fromDate=1810&fromADBC=ad&toDate=1900&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=4
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES

2. POSTHUMOUSLY FORGED WITH AQUATINT 
The posthumous reworking and alteration of Goya's original etching plates with the application of an aquatint tone is never more evident than when one compares Goya's lifetime working proof etching titled "What Courage," in the British Museum's collection, with the National Gallery of Canada's posthumous forgery with the same title published in 1863 by the Royal Academy and printed by Laurenciano Potenciano. This posthumous application of aquatint to Goya's etching plates is confirmed, aside from one's own eyes, by following two sources:

1. In The Disasters of War by Francisco Goya y Lucientes catalogue published in 1967 by Dover Publications, on page 1 of the "Introduction to the Dover Edition," Harvard University Library Department of Graphic Arts' Philip Hofer wrote: "Then a year later, in 1863, the Academy issued the prints publicly, with a newly engraved title page, and printed preface, in eight paper-covered, numbered parts, with some retouching to the aquatint backgrounds and even to Goya’s etching itself!”[FN 10]
2. This posthumous forging of Goya etching plates with aquatint is further confirmed by Janis A. Tomlinson in her 1992 Goya In the Twilight of Enlightenment catalogue published by Yale University Press. After Goya's "Disasters of War" etching plates were acquired by the Academy of Fine Art of San Fernando in 1862, the author writes: "To make the first edition of the series most of the plates were altered, completing the lines framing the scenes, adding scratches, and even brunienclo areas of aquatint (7) and tinkering with drypoint (1, 77), chisel (38) or etching (43, 57). Besides printing was performed following the style of the time by the effects of entrapado, a procedure which passes a muslin cloth over the plate and inked on the surface leaving a certain amount of ink that produces a very soft toned overall. The result was far from the force and clarity that can be seen in the many state tests are preserved."[FN 11]

Francisco Goya y Lucientes, An Heroic Feat, c. 1810-1813, etching, lavis, and drypoint on heavy wove paper, Printed by Laurenciano Potenciano, 24.5 x 33.8 cm; plate: 15.5 x 20.7 cm, Purchased 1933, National Gallery of Canada (no. 4162)
 http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9617
POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE

Los Desastres de la Guerra (The Disasters of War) / Grande hazaña! Con muertos! (An heroic feat! With dead men!), from The Disasters of War, working proof for plate 39, 1810-1812, Francisco de Goya y Lucientes (Spanish, Fuendetodos 1746 - 1828 Bordeaux), Spanish; made Spain, Etching, lavis, and drypoint; image: Height: 155 millimetres, Width: 204 millimetres, AN38003001, © The Trustees of the British Museum, Department: Prints & Drawings. Registration number: 1975,1025.421.41
 http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1333636&partid=1&searchText=goya&fromDate=1810&fromADBC=ad&toDate=1900&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=2
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES

3. POSTHUMOUSLY FORGED WITH LINES
The posthumous reworking and alteration of Goya's original etching plates with the forging of lines is never more evident than when one compares Goya's lifetime working proof etching titled "An Heroic Feat," from the British Museum's collection, with the National Gallery of Canada's posthumous forgery with the same title published in 1863 by the Royal Academy and printed by Laurenciano Potenciano. The posthumous forging of lines to Goya's etching plates, aside from one's own eyes, is confirmed by these two sources:

1. Once again, in Janis A. Tomlinson's 1992 Goya In the Twilight of Enlightenmen catalogue published by Yale University Press. After Goya's "Disasters of War" etching plates were acquired by the Academy of Fine Art of San Fernando in 1862, the author writes: "To make the first edition of the series most of the plates were altered, completing the lines framing the scenes, adding scratches, and even brunienclo areas of aquatint (7) and tinkering with drypoint (1, 77), chisel (38) or etching (43, 57). Besides printing was performed following the style of the time by the effects of entrapado, a procedure which passes a muslin cloth over the plate and inked on the surface leaving a certain amount of ink that produces a very soft toned overall. The result was far from the force and clarity that can be seen in the many state tests are preserved."[FN 12]
2. In "The World Printmakers Great Printmakers Series Francisco de Goya" essay by Mike Booth, these contentious issues of authenticity, with the posthumous reworking and alteration of Goya's original "Disasters of War" etching plates, were confirmed. In part, the author wrote: "Surprisingly enough, the plates were quite extensively retouched for the first edition, something that we look upon today as anathema. Framing lines were completed around the images, scratches were burnished out and some areas of aquatint, drypoint and direct acid bite were even added."[FN 13]

National Gallery of Canada's description: "Francisco Goya y Lucientes, Truth Has Died, c. 1820-1823, etching and burnishing on heavy wove paper, Printed by Laurenciano Potenciano, 24.5 x 33.8 cm; plate: 17.5 x 21.9 cm
Purchased 1933, National Gallery of Canada (no. 4202) 
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9576
POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE

 "Los Desastres de la Guerra (The Disasters of War) / Murió la verdad (Truth has died), Plate 79: llegorical female figure of Truth lying dead, surrounded by crowd of religious and other figures with bishop at front, emanating light; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. 1812-20 Etching and burnisher, AN38068001" http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1334045&partid=1&searchText=Berm%c3%badez&fromDate=1810&fromADBC=ad&toDate=1900&toADBC=ad&titleSubject=on&physicalAttribute=on&productionInfo=on&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=11
 LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES

 


4. POSTHUMOUSLY FORGED WITH TITLES
In a GOYA: CHRONICLER OF ALL WARS catalogue by Juan Bordes for a May 15-September 13, 2009 The Disasters and War Photography exhibition at the CAAM-Calcografia Nacional, the author wrote: "On the cover of one of the three complete copies of this series printed by Goya himself, reads the title "Fatales consecuencias de la sangrienta guerra en España con Bonaparte Y otros caprichos enfáticos en 85 estampas. Inventadas, dibujadas y grabadas por el pintor original D. Francisco de Goya y Lucientes" (Fatal Consequences of the Bloody War in Spain with Bonaparte and Other Emphatic Caprices in 85 prints. Invented, drawn and etched by the original painter Don Francisco de Goya y Lucientes). In Madrid, such is the title of this one and only first copy, which was set and bound for Agustín Ceán Bermúdez, who subsequently corrected the inscriptions and this cover."[FN 14]


In other words, the very title that Francisco Goya y Lucientes gave for his own 80 original hand-printed etchings was reworked and altered to "Los Desastres de la Guerra" a.k.a. The Disasters of War, just like his original etching plates were reworked and altered by Real Academia de Bellas Artes de-San Fernando for the subsequent editions of forgeries after 1863.


This posthumous skewing is additionally confirmed on page 1 of The Disasters of War by Francisco Goya y Lucientes catalogue published in 1967 by Dover Publications. In the "Introduction to the Dover Edition," Harvard University Library Department of Graphic Arts' Philip Hofer wrote: "Los Desastres de la guerra (The Disasters of War). First published in 1863, thirty-five years after the artist’s death, it normally consist of eighty aquatint plates, roughly six by eight inches oblong format, with short but vivid captions perhaps composed by Goya’s learned friend, Cean Bermudex from the artist’s notes. The actual execution of the captions is by still another hand.”[FN 15]


5. 80,000 OR MORE OF NEVER ENDING EDITIONS
In the "Medium for the Message: Printmaking and the Disasters of War" essay by Grinnell College's Roxanne Young and Annaliese Beaman, the authors wrote: "Large print editions can damage copper plates, especially plates with raised burrs from engraving processes. Sometimes these copper plates can be coated with a layer of steel alloy that makes them stronger and more resilient to multiple printings for large editions. This is called “steel-facing.” The Disasters of War plates were steel-faced after a large edition was printed in 1863. This steel-facing helped make it possible to publish later, smaller, editions of the Disasters of War without further damaging these valuable plates."[FN 16]

Harris Shank Fine Prints notes on their website that "the First Edition of Los Desastres de la Guerra was published posthumously, in 1863, and seven editions were made in all."[FN 17]

Five of those seven editions are chronicled on Wikipedia, where it is written: "The 1863 edition had 500 impressions, and editions followed in 1892 (100) before which the plates were probably steel-faced to prevent further wear, 1903 (100), 1906 (275), and 1937. Spaightwood Galleries accessed October 18, 2009."[FN 18]

Unfortunately, the term "edition" is being used, with or without intent, as an euphemism for mass-produced reproductions, much less forgeries.


This perspective seems to be supported on the www.almendron.com website, where there are now ten editions of the "Disasters of War" listed:

• "FIRST EDITION 1864 (Laurentian Potenciano strike the Royal Academy of Fine Arts of San Fernando),
• SECOND EDITION October 1875*,
• THIRD EDITION 1891*,
• FOURTH EDITION 1902*,
• FIFTH EDITION 1904*,
• SIXTH EDITION 1916*,
• SEVENTH EDITION 1923*,
• EIGHTH EDITION 1930*,
• NINTH EDITION 1937 (Rupérez in the National Engraving for the Ministry of Public Instruction Aries),
• and TENTH EDITION 1970 (*Stamped on the Chalcography Real (or National) to the Royal Academy of Fine Arts of San Fernando.)."[FN 19]

U.S. COPYRIGHT LAW
Under U.S. Copyright Law § 101. Definitions, a “work of visual art” is defined as: "a painting, drawing, print or sculpture, existing in a single copy, in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author."[FN 20]

Reproductions by their very nature have no such limitation. To paraphase, the former Musee Rodin curator Monique Laurent, -editions- are "modern methods, linked with the notion of rarity and speculation in art"[FN 21] or in this case posthumous reworked and altered forgeries.

6) ETHICS THAT ARE PREACHED NOT PRACTICED

The National Gallery of Canada's director Marc Mayer is a member of Association Art Museum Directors[FN 22].

AAMD STATEMENT OF MISSION

The Association of Art Museum Directors’ “Statement of Mission,” as adopted in June 1996, in part, states: “The purpose of the Association of Art Museum Directors is to aid its members in establishing and maintaining the highest professional standards for themselves and the museums they represent.”[FN 23]

PROFESSIONAL PRACTICES IN ART MUSEUMS

On page 31 of the 2001 Association of Art Museum Director’s Professional Practices in Art Museums booklet, it is written that the: “misleading marketing of reproductions, has created such widespread confusion as to require clarification in order to maintain professional standards. - When producing and/or selling reproductions, museums must clearly indicate, through the use of integral markings on the objects, as well as signs, labels, and advertising, that these items are reproductions."[FN 24] The AAMD requires of their members that:

1. “When producing and/or selling reproductions - signatures, edition numbers, and/or foundry marks on sculpture must not appear on the reproduction.,”
2. ...the fact that they are reproductions should be clearly indicated on the object,” and
3. “When advertising reproductions, museums should not use language implying that there is any identity of quality between the copy and the original or lead the potential buyer to believe that by purchasing any such reproductions, he or she is acquiring an original work of art.”[FN 24]

CONCLUSION

What needs to be accomplished is the full and honest disclosure of reproductions as -reproductions- by all museums, auction houses, academia, galleries and art dealers. If the National Gallery of Canada and the Art Gallery of Alberta, for their January 31-May 30, 2010 Franciso Goya: The Disasters of War and Los Caprichos exhibition, will give full and honest disclosure to all forgeries as: -forgeries-, it would allow consumer the potential to give informed consent on whether to attend an exhibition of forgeries, much less pay the price of adult admission.

But if those forgeries are not disclosed as -forgeries-, then potential serious consequences of law may come into play for those who chose to misrepresent those forgeries for profit.

The reputations and legacy of living and past artists, present and future consumers ie. the art-buying public deserve the re-establishment of the obvious; that the living presence and participation of the artist to once again be required, as it always should have been, to create the piece of art attributable to the artist if indeed it is attributed to them, much less purported to have been signed by them.

PRINCIPALS:
1. National Gallery of Canada

Marc Mayer

Director

380 Sussex Drive

P.O. Box 427

Ottawa Ontario K1N 9N4 Canada

2. Art Gallery of Alberta
Gilles Hébert
Executive Director
Catherine Crowston
Deputy Director and Chief Curator
2 Sir Winston Churchill Square
Edmonton, Alberta T5J 2C1
780.422.6223
gilles.hebert@youraga.ca

"Mission- The Art Gallery of Alberta is a museum dedicated to excellent and innovative practice in programming, stewardship, and presentation of visual arts in Western Canada and across the nation." 
 http://www.youraga.ca/about-aga/our-mission/

FOOTNOTES:

1. Copyright © 1999, By West Group, ISBN 0-314-22864-0

2.http://www.almendron.com/arte/pintura/goya/estampas/anexos/anexos.htm

3. http://www.ifpda.org/content/collecting_prints/faq#2n3783

4, p.4, National Gallery of Canada, Number 17, Septemer 2009

5.http://www.youraga.ca/exhibit/franciso-goya-the-disasters-of-war-and-los-caprichos

6. http://www.gallery.ca/english/91.htm

7. Copyright © 1991 by Bena Mayer, ISBN 0-06-461012-8 (pbk.)

8.© 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971

9. http://www.cbp.gov/xp/cgov/trade/legal/informed_compliance_pubs/

10. Copyright © 1967 by Dover Publications, Inc., ISBN: 0-486-21872-4)

11. New Haven: Yale University Press, 1992, ISBN 0-3000-5462-9

12. Ibid

13. www.worldprintmakers.com/masters/goya.htm

14. www.caam.net/en/exposiciones/b11/2009/goya.htm

15.Copyright © 1967 by Dover Publications, Inc.

16. http://web.grinnell.edu/faulconergallery/goya/essays/medium.htm

17.http://harrisschrank.com/bien-te-se-esta-%e2%80%93-it-serves-you-right.htm

18. http://en.wikipedia.org/wiki/The_Disasters_of_War

19.http://www.almendron.com/arte/pintura/goya/estampas/anexos/anexos.htm

20. www.copyright.gov/title17/92chap1.html#101

21. p 22, Translation Copyright© 1989 by Emily Read

22. http://aamd.org/about/#Members

23. www.aamd.org/AAMDmission.shtml

24. Published in 2001 by the Association of Art Museum Directors, 41 East 65th Street, New York 10021 ISBN 1-880974-02-9

25. Ibid

ADDENDUM

NOTE: National Gallery of Canada's "Disasters of War" collection checklist with plate numbers -mine-, acquired from: http://web.grinnell.edu/faulconergallery/goya/plates/platesA.htm

Plate 1
Francisco Goya y Lucientes
Sad Forebodings of What Is Going to Happen c. 1820-1823
etching, burin, drypoint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.5 x 21.9 cm
Purchased 1933
National Gallery of Canada (no. 4124)

This frontispiece to "The Disasters of War" was added between 1820 and 1823 with a group of caprichos "enfáticos", or "emphatic caprichos", which have imaginary and allegorical subject matter. Goya's distinctive, sombre later style is evident in the darker tones and looser handling of line. The identity of the figure remains a mystery. His kneeling position and open arms recall the pose of some martyred saint. In the absence of a written preface, this print effectively achieves a mood of foreboding, fear and anxiety for the scenes of violent conflict and famine that follow.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9655

Plate 2
Francisco Goya y Lucientes
With or without Reason c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.9 cm; plate: 15.3 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4125)

This print and the next ("The Same Thing", plate 3) record the improvised fighting methods of the Spanish resistance. Armed only with sharpened poles and knives, a group of insurgents bravely face the muskets of the French invaders. Their plain clothing and crude weapons identify them as working class people who have spontaneously risen up in rebellion and are not part of any organized army. Goya's title suggests the wild determination with which they continue to fight against a more advanced enemy.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9654

Plate 3
Francisco Goya y Lucientes
The Same Thing c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16 x 22 cm
Purchased 1933
National Gallery of Canada (no. 4126)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9653

Plate 4
Francisco Goya y Lucientes
The Women Give Courage c. 1810-1813
etching, aquatint, lavis, drypoint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.6 x 33.5 cm; plate: 15.3 x 20.5 cm
Purchased 1933
National Gallery of Canada (no. 4127)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9652

Plate 5
Francisco Goya y Lucientes
And They Are Like Wild Beasts c. 1810-1813
etching, aquatint, drypoint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.8 cm
Purchased 1933
National Gallery of Canada (no. 4128)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9651

In October 1808 the Spanish General Palafox invited Goya to Saragossa to record the glorious deeds of the local citizenry who had successfully defended the city against a French siege from June until August 1808 during the opening months of the Peninsular War. Saragossa, the capital of the historical region of Aragon, is located on the border of France, west of the Pyrenees and was vulnerable to Napoleon's troops. Among reports that Goya heard on his arrival were those of the heroism of women who defended themselves ferociously with knives, rocks or whatever was at hand. In this print one woman holding an infant with her left arm drives a spear through her attacker with her right.

Plate 6
Francisco Goya y Lucientes
It Serves You Right c. 1810-1813
etching, lavis, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 14.1 x 20.8 cm
Purchased 1933
National Gallery of Canada (no. 4129)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9650

Plate 7
Francisco Goya y Lucientes
What Courage! c. 1810-1813
etching, aquatint, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 21 cm
Purchased 1933
National Gallery of Canada (no. 4130)

A popular heroine of the battle of Saragossa was Agustina de Aragón, who ran supplies for the front line soldiers and is said to have rushed forward over her fallen male comrades, plucked the lit match from the hand of a wounded artilleryman and fired the cannon in his place. Her example rallied the defenders to carry on the struggle. Goya here transforms the figure of Agustina into a symbol of decisive bravery. Saragossa was finally taken by the French in February 1809 after 42 days of continuous attack.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9649

Plate 8
Francisco Goya y Lucientes
This Always Happens c. 1820-1823
etching and drypoint on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.4 x 21.8 cm
Purchased 1933
National Gallery of Canada (no. 4131)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9648

Plate 9
Francisco Goya y Lucientes
They Don't Want To c. 1810-1813
etching, aquatint, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.3 x 20.8 cm
Purchased 1933
National Gallery of Canada (no. 4132)

During the Peninsular War, the Spanish civilian population suffered unspeakable atrocities at the hands of the invaders. This print depicts the bravery of an old woman who fights against such acts despite her physical disadvantage. A muted atmosphere of seclusion is created by a layer of aquatint covering the whole plate with the exception of parts of the figures and the water wheel.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9647

Plate 10

Francisco Goya y Lucientes

Nor Do These Either c. 1810-1813

etching and burin on heavy wove paper

Printed by Laurenciano Potenciano

24.5 x 33.7 cm; plate: 14.8 x 21.6 cm

Purchased 1933

National Gallery of Canada (no. 4133) http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9646

Plate 11
Francisco Goya y Lucientes
Neither Do These c. 1810-1813
etching, lavis, drypoint, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16.1 x 21.1 cm
Purchased 1933
National Gallery of Canada (no. 4134)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9645

Plate 12
Francisco Goya y Lucientes
This Is What You Were Born For c. 1810-1813
etching, lavis, drypoint, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.8 x 23.4 cm
Purchased 1933
National Gallery of Canada (no. 4135)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9644

Plate 13
Francisco Goya y Lucientes
Bitter to Be Present c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 14.1 x 17 cm
Purchased 1933
National Gallery of Canada (no. 4136)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9643

Plate 14
Francisco Goya y Lucientes
It's a Hard Step! c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 14.1 x 16.7 cm
Purchased 1933
National Gallery of Canada (no. 4137)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9642

Plate 15
Francisco Goya y Lucientes
And There Is No Help for It c. 1810-1813
etching, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 14 x 16.8 cm
Purchased 1933
National Gallery of Canada (no. 4138)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9641

Plate 16
Francisco Goya y Lucientes
They Avail Themselves c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.9 x 23.5 cm
Purchased 1933
National Gallery of Canada (no. 4139)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9640

Plate 17
Francisco Goya y Lucientes
They Do Not Agree c. 1810-1813
etching, drypoint, lavis, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.6 x 33.8 cm; plate: 14.3 x 21.7 cm
Purchased 1933
National Gallery of Canada (no. 4140)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9639

Plate 18
Francisco Goya y Lucientes
Bury Them and Keep Quiet c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16.1 x 23.5 cm
Purchased 1933
National Gallery of Canada (no. 4141)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9638

Bodies of fallen soldiers lie stripped of their clothing and ready for a quick and anonymous burial. As textiles were in short supply during wartime, the clothing of the dead became a valuable commodity. The task of this cowering couple is to inter the corpses to avoid the spread of disease. Cloud formations in the sky were created by the lavis technique of applying acid directly to the plate.

Plate 19
Francisco Goya y Lucientes
There Isn't Time Now c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16.5 x 23.9 cm
Purchased 1933
National Gallery of Canada (no. 4142)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9637

Plate 20
Francisco Goya y Lucientes
Get Them Well, and On to the Next 1810
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16 x 23.5 cm
Purchased 1933
National Gallery of Canada (no. 4143)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9636

Plate 21
Francisco Goya y Lucientes
It Will Be the Same c. 1810-1813
etching, lavis, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 14.6 x 21.8 cm
Purchased 1933
National Gallery of Canada (no. 4144)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9635

Plate 22
Francisco Goya y Lucientes
Even Worse 1810
etching, lavis, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.9 x 25 cm
Purchased 1933
National Gallery of Canada (no. 4145)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9634

Plate 23
Francisco Goya y Lucientes
The Same Elsewhere c. 1810-1813
etching, lavis, drypoint, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.9 x 24 cm
Purchased 1933
National Gallery of Canada (no. 4146)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9633

Plate 24
Francisco Goya y Lucientes
They Can Still Be of Use c. 1810-1813
etching and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16 x 25.5 cm
Purchased 1933
National Gallery of Canada (no. 4147)

Here the Spanish militia collects their wounded from a battle field before the silhouette of buildings in the background, possibly those of the medieval town of Saragossa. The title may refer to the fact that after they were treated the wounded were still needed to continue the fight against Napoleon's army.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9632

Plate 25
Francisco Goya y Lucientes
These Too c. 1810-1813
etching, drypoint, and burin on wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16.3 x 23.3 cm
Purchased 1933
National Gallery of Canada (no. 4148)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9631

Plate 26
Francisco Goya y Lucientes
One Can't Look c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 14.3 x 20.8 cm
Purchased 1933
National Gallery of Canada (no. 4149)

The title of this print suggests the terror of being an eye witness to atrocity, in this case the execution of Spanish civilians, including women and children. The savage realism with which Goya records events was calculated to maximize the moral outrage at what takes place.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9630

Plate 27
Francisco Goya y Lucientes
Charity 1810
etching, lavis, drypoint, burin, and burnishing on wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.8 x 23.5 cm
Purchased 1933
National Gallery of Canada (no. 4150)

This is one of three prints in "The Disasters of War" that is signed and dated "Goya 1810," indicating it was among the first in the series. Preparatory drawings for the plates survive and the one for this print in the Prado Museum bears a plate mark, signifying that it was run through a press, transferring the image to the ground of acid-resistant resin, which the artist was then able to follow with his etching needle. The subject refers to reports of thousands of bodies piled in the streets of Saragossa by the end of the intense French assault in February 1809.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9629

Plate 28
Francisco Goya y Lucientes
Rabble c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.4 x 21.5 cm
Purchased 1933
National Gallery of Canada (no. 4151)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9628

Plate 29 -
Francisco Goya y Lucientes
He Deserved It c. 1820-1823
etching, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.5 x 21.7 cm
Purchased 1933
National Gallery of Canada (no. 4152)

Atrocities were committed during the Peninsular War by both the French and Spanish. In many Spanish cities, prominent citizens suspected of collaborating with the enemy were tortured and mutilated by frenzied mobs. With its looser handling of line, spare detailing of the figures, but expressive study of character, this print is given a later date coincident with the "Caprichos enfáticos" series added by Goya in 1820-23.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9627

Plate 30
Francisco Goya y Lucientes
Ravages of War c. 1810-1813
etching, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 14.1 x 16.7 cm
Purchased 1933
National Gallery of Canada (no. 4153)

The second siege of Saragossa (20 December 1808 - 20 February 1809) wiped out entire families in their homes. The spatial disorientation created by close cropping of the image and the chaotic position of the bodies suggest this print depicts a moment just after the cannon fire has struck. In 1924 the German printmaker Otto Dix published a portfolio of aquatints on the First World War, titled "Der Krieg", with scenes of equally tragic pandemonium.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9626

Plate 31
Francisco Goya y Lucientes
That's Tough! c. 1810-1813
etching, aquatint, drypoint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.4 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4154)

Plate 32
Francisco Goya y Lucientes
Why? c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.2 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4155)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9624

Plate 33
Francisco Goya y Lucientes
What More Can Be Done? c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.6 x 33.8 cm; plate: 15.4 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4156)

In this print Goya shows Napoleon's troops to have had an avid taste for violence in carrying out retaliation on the resistance fighters. Such mutilations were strategically intended to strike mortal fear into the hearts of the local populace and to discourage further uprisings.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9623

Plate 34
Francisco Goya y Lucientes
On Account of a Knife c. 1810-1813
etching, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.5 cm
Purchased 1933
National Gallery of Canada (no. 4157)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9622

Plate 35
Francisco Goya y Lucientes
One Can't Tell Why c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.5 cm
Purchased 1933
National Gallery of Canada (no. 4158)

During the French occupation of Spain, legal executions were often abused as a way to discourage violent resistance. The weapons slung around the necks of these garrotted men relate to a decree of December 1808 making it a capital offence in Madrid to attack a member of the French army, bear a weapon in the street, or conceal one in the home. Garrotting was the favoured method of public execution in Spain and the condemned often requested it over hanging.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9621

Plate 36
Francisco Goya y Lucientes
Not in this Case Either c. 1810-1813
etching, aquatint, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4159)

As the French suppressed Spanish resistance during the Peninsular War, they were swift to administer harsh justice to their prisoners. Some were shot outright (see "And There Is No Help for It", plate 15), others were hanged en masse on improvised gallows made of tree trunks and then left to rot as an example to others. The French generals ordered executions as a way to gain strategic war advantage. The officer who observes the tragic scene in this print appears to share his commander's indifference to death.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9620

Plate 37
Francisco Goya y Lucientes
This Is Worse c. 1810-1813
etching, lavis, and drypoint on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.5 cm
Purchased 1933
National Gallery of Canada (no. 4160)

This is one of the few subjects to be identified by Goya. He inscribed on a working proof of this print the words "El de Chinchón (The one at Chinchon)" in reference to the massacre of the male inhabitants of the town in December 1808. It is unlikely that Goya witnessed this scene himself, but relied on second-hand accounts and reports of the atrocity.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9619

Plate 38
Francisco Goya y Lucientes
Barbarians! c. 1810-1813
etching, aquatint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.2 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4161)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9618

Plate 39
Francisco Goya y Lucientes
An Heroic Feat! With Dead Men! c. 1810-1813
etching, lavis, and drypoint on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.4 x 20.5 cm
Purchased 1933
National Gallery of Canada (no. 4162)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9617

Plate 40
Francisco Goya y Lucientes
He Gets Something Out of It c. 1810-1813
etching, drypoint, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.5 x 22 cm
Purchased 1933
National Gallery of Canada (no. 4163)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9616

Plate 41
Francisco Goya y Lucientes
They Escape through the Flames c. 1810-1813
etching and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16.1 x 23.4 cm
Purchased 1933
National Gallery of Canada (no. 4164)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9615

Plate 42
Francisco Goya y Lucientes
Everything Is Topsy-turvy c. 1820-1823
etching and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.6 x 22 cm
Purchased 1933
National Gallery of Canada (no. 4165)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9614

Plate 43
Francisco Goya y Lucientes
This Too c. 1810-1813
etching, aquatint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4166)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9613

Plate 44
Francisco Goya y Lucientes
I Saw It c. 1810-1813
etching, drypoint, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.8 x 23.5 cm
Purchased 1933
National Gallery of Canada (no. 4167)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9612

Plate 45
Francisco Goya y Lucientes
And This Too c. 1810-1813
etching, aquatint, drypoint, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16.5 x 22 cm
Purchased 1933
National Gallery of Canada (no. 4168)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9611

Plate 46
Francisco Goya y Lucientes
This Is Bad c. 1810-1813
etching, aquatint, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.3 x 20.5 cm
Purchased 1933
National Gallery of Canada (no. 4169)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9610

Plate 47
Francisco Goya y Lucientes
This Is How It Happened c. 1810-1813
etching, aquatint, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4170)

French soldiers looted the church silver of those communities that put up resistance during the Peninsular War as way to further punish the local inhabitants. Pillaging of Spanish culture was also carried out on a larger, more organized scale. Between 1808 and 1813, the French assembled more than 1,200 paintings in Seville from suppressed religious orders, a number of which entered the private collections of their generals.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9609

Plate 48
Francisco Goya y Lucientes
Cruel Tale of Woe! c. 1811-1812
etching, lavis, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.4 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4171)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9608

Plate 49
Francisco Goya y Lucientes
A Woman's Charity c. 1810-1813
etching, lavis, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4172)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9607

Plate 50 -
Francisco Goya y Lucientes
Unhappy Mother! c. 1811-1812
etching, aquating, drypoint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.3 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4173)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9606

Plate 51
Francisco Goya y Lucientes
Thanks to the Millet c. 1811-1812
etching, aquatint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.5 cm
Purchased 1933
National Gallery of Canada (no. 4174)

A number of "The Disasters of War" series take as their subject the severe famine that struck Spain between September 1811 and August 1812 (plates 48-64) and devastated Madrid. Millet porridge was one of the few nutrients available to the local population. With his masterful application of atmospheric aquatint and etched line for the figures and background, Goya creates a most haunting image of human deprivation and despair. Famine devastated Madrid.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9605

Plate 52
Francisco Goya y Lucientes
They Do Not Arrive in Time c. 1811-1812
etching, lavis, drypoint, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.3 x 20.5 cm
Purchased 1933
National Gallery of Canada (no. 4175)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9604

Plate 53
Francisco Goya y Lucientes
There Was Nothing to Be Done and He Died c. 1810-1813
etching, aquatint, lavis, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4176)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9603

Plate 54
Francisco Goya y Lucientes
Appeals Are in Vain c. 1810-1813
etching, lavis, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.3 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4177)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9602

Plate 55
Francisco Goya y Lucientes
The Worst Is to Beg c. 1811-1812
etching, lavis, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.6 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4178)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9601

Plate 56
Francisco Goya y Lucientes
To the Cemetery c. 1810-1813
etching, lavis, and drypoint on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.3 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4179)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9600

Plate 57
Francisco Goya y Lucientes
The Healthy and the Sick c. 1810-1813
etching, aquatint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.6 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4180)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9599

Plate 58
Francisco Goya y Lucientes
It's No Use Crying Out c. 1810-1813
etching, aquatint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.5 x 20.8 cm
Purchased 1933
National Gallery of Canada (no. 4181)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9598

Plate 59
Francisco Goya y Lucientes
What Is the Use of a Cup? c. 1810-1813
etching, aquatint, lavis, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.3 x 20.6 cm
Purchased 1933
National Gallery of Canada (no. 4182)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9597

Plate 60
Francisco Goya y Lucientes
There Is No One to Help Them c. 1811-1813
etching, aquatint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4183)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9596

Plate 61
Francisco Goya y Lucientes
Perhaps They Are of Another Breed c. 1810-1813
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.1 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4184)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9595


Plate 62
Francisco Goya y Lucientes
The Beds of Death c. 1811-1812
etching, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.5 x 21.7 cm
Purchased 1933
National Gallery of Canada (no. 4185)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9594

Plate 63
Francisco Goya y Lucientes
Harvest of the Dead c. 1811-1812
etching, aquatint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.3 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4186)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9593

Plate 64
Francisco Goya y Lucientes
Cartloads to the Cemetery c. 1811-1812
etching, aquatint, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.4 x 20.7 cm
Purchased 1933
National Gallery of Canada (no. 4187)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9592

Plate 65
Francisco Goya y Lucientes
What Is this Hubbub? c. 1820-1823
etching, aquatint (or lavis ?), burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.3 x 21.7 cm
Purchased 1933
National Gallery of Canada (no. 4188)

This print begins the "caprichos enfáticos" series that Goya added in 1820-23. Here he focuses on the trials of defeat and occupation. Two anguished women flee from a French officer after hearing devastating news, either about loved ones who have perished or the loss of possessions requisitioned for the war effort.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9591

Plate 66
Francisco Goya y Lucientes
Strange Devotion! c. 1820-1823
etching, aquatint (or lavis ?), and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.3 x 22 cm
Purchased 1933
National Gallery of Canada (no. 4189)

In this print from the late group of "caprichos enfáticos", Goya returns to the anti-clerical themes of "Los Caprichos". Here he depicts the veneration of a preserved corpse in the tradition of the saintly reliquary. Is this a local religious figure? The answer is not clear, however it seems in this print and the one that follows in the series ("This Is Not Less So", plate 67), Goya is directing criticism at superstition and the belief in false miracles.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9590

Plate 67
Francisco Goya y Lucientes
This Is Not Less So c. 1820-1823
etching, aquatint, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.3 x 21.6 cm
Purchased 1933
National Gallery of Canada (no. 4190)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9589

Plate 68
Francisco Goya y Lucientes
What Madness! c. 1820-1823
etching, lavis, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 16 x 22.1 cm
Purchased 1933
National Gallery of Canada (no. 4191)

Goya's low opinion of the clergy is abundantly clear in this view of a monk relieving himself among masks, costumes, placards and dolls, possibly used in religious theatre or festival processions. The hooded monks passing by in the background suggest that the setting is a monastery where the clergy have hypocritically concealed their chamber pots among the stage props with which they enchant the faithful.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9588

Plate 69
Francisco Goya y Lucientes
Nothing. The Event Will Tell c. 1820-1823
etching, aquatint, lavis, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 15.4 x 20.1 cm
Purchased 1933
National Gallery of Canada (no. 4192)

Goya's stark image of a corpse having inscribed "Nada" ("nothing") on a sheet of paper is a sobering epilogue for a series of prints on the theme of devastation and loss suffered over the course of the Peninsular War. In the left section of an early proof of this print, the artist depicted an allegorical figure of Justice with her scales, all but obliterated in the published edition of 1863. The print seems to address Goya's disappointment with how little was achieved by way of reform during this violent period of upheaval.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9587

Plate 70
Francisco Goya y Lucientes
They Do Not Know the Way c. 1820-1823
etching, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.7 x 21.8 cm
Purchased 1933
National Gallery of Canada (no. 4193)

This print depicts a variation on the traditional morality tale of "the blind leading the blind." A cross-section of Spanish society is strung together with rope. While they are not necessarily blind, they are leaderless and left to wander aimlessly because they have not embraced the liberal values cherished by the artist. The return of Ferdinand VII in 1814 following the end of the Peninsular War ushered in a period of political and religious repression and reinstated the Inquisition, which summoned Goya in 1815 to answer obscenity charges relating to his painting of the "Naked Maja", 1800 (Museo del Prado, Madrid).
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9586

Plate 71
Francisco Goya y Lucientes
Against the Common Good c. 1820-1823
etching and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.5 x 21.8 cm
Purchased 1933
National Gallery of Canada (no. 4194)

The long batwing ears and clawed hands and feet of this sanctimonious creature recall the warlocks of "Los Caprichos". His monk's robes identify him as a member of the clergy. That he records a repressive rule of law is suggested by the crowd who prostrate themselves in the lower right. This politically motivated print may relate to the Constitutional crisis of 1820 when Ferdinand VII was forced to swear allegiance to the more liberal Constitution of 1812, only to overthrow it three years later and re-establish himself as an absolute monarch with the sanction of European members of the Holy Alliance signed after the final defeat of Napoleon.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9585

Plate 72
Francisco Goya y Lucientes
The Consequences c. 1820-1823
etching on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.4 x 21.7 cm
Purchased 1933
National Gallery of Canada (no. 4195)

The fantastic night creatures in this scene recall "The Sleep of Reason Produces Monsters" from the "Los Caprichos" series, but here convey the tragedy of conflict. Descending upon the fallen, they can be interpreted to represent the plundering of the Nation, the futility of sacrifice, and Nature's brute indifference before the failed ideals of humanity.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9584

Plate 73
Francisco Goya y Lucientes
Feline Pantomime c. 1820-1823
etching, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.6 x 21.8 cm
Purchased 1933
National Gallery of Canada (no. 4196)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9583

Plate 74
Francisco Goya y Lucientes
That Is the Worst of It! c. 1820-1823
etching and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.7 x 21.8 cm
Purchased 1933
National Gallery of Canada (no. 4197)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9582

Plate 75
Francisco Goya y Lucientes
Charlatans' Show c. 1820-1823
etching, aquatint (or lavis ?), drypoint, and burin on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.3 x 22.2 cm
Purchased 1933
National Gallery of Canada (no. 4198)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9581

Plate 76
Francisco Goya y Lucientes
The Carnivorous Vulture c. 1820-1823
etching, drypoint ?, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.2 x 21.9 cm
Purchased 1933
National Gallery of Canada (no. 4199)
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9579

Plate 77
Francisco Goya y Lucientes
May the Cord Break c. 1820-1823
etching, aquatint (or lavis ?), drypoint, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.6 x 21.8 cm
Purchased 1933
National Gallery of Canada (no. 4200)

One of Goya's most overtly anti-clerical images from "The Disasters of War" series, this print shows a grim faced prelate - actually Pope Pius VII minus his papal tiara - navigating a stretched and frayed tightrope suspended above a crowd of hecklers. No-one is fooled by the clergy's new-found powers after Ferdinand VII was restored to the throne in 1814; inevitably liberal reform will prevail.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9578

Plate 78
Francisco Goya y Lucientes
He Defends Himself Well c. 1820-1823
etching, drypoint, burin, and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.3 x 21.7 cm
Purchased 1933
National Gallery of Canada (no. 4201)

One of the few prints by Goya devoted exclusively to animals, those depicted here are in fact personifications of human folly. A pack of wolves viciously attack a horse, while collared dogs look on with calm indifference. It is a sad commentary on those who turn a blind eye to injustice.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9577

Plate 79
Francisco Goya y Lucientes
Truth Has Died c. 1820-1823
etching and burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.5 x 21.9 cm
Purchased 1933
National Gallery of Canada (no. 4202)

The "Disasters of War" series ends with two prints created as Goya's last desperate plea for the survival of liberal values in Spain represented by the Constitution of 1812, which was revoked by Ferdinand VII when he returned to power in 1814 and again in 1823. The Constitution is here personified by a bare-breasted woman in a white dress, laid to rest by a bishop and his clerical followers. However, the light of Truth continues to radiate from her inert body.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9576

Plate 80
Francisco Goya y Lucientes
Will She Rise Again? c. 1820-1823
etching with burnishing on heavy wove paper
Printed by Laurenciano Potenciano
24.5 x 33.8 cm; plate: 17.4 x 21.9 cm
Purchased 1933
National Gallery of Canada (no. 4203)

This plate, the final print in the series, suggests the spiritual resurrection of a buried ideal, a development that finds mixed reaction among many of the bystanders. One figure with clasped hands who kneels behind her head seems to welcome the event, while others, including cloaked figures brandishing clubs and an animal-faced creature about to hurl down a book (undoubtedly, the existing laws of repression under the Inquisition), remain hostile.
http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=9575