Gary Arseneau: June 2012

NOTE: Footnotes are enclosed as [FN ]

39. Grande hazaña! Con muertos! (A heroic feat! With dead men!), From The Disasters of War (1906 edition), Etching, lavis, and drypoint on laid paper, 6 1/16 x 8 1/16 inches (plate), 16 x 22 inches (frame), Georgia Museum of Art, University of Georgia;, Gift of Mr. and Mrs. James B. Anderson, GMOA 1985.11.39

NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE

Grande hazaña! Con muertos! (An heroic feat! With dead men!) / Los Desastres de la Guerra (The Disasters of War), 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 DE GOYA Y LUCIENTES

The University of Georgia and its' Georgia Museum of Art's August 18, 2012 - October 26, 2012 Francisco de Goya’s “Disasters of War” exhibition is a -fraud-.

On page 670 of the Seventh Edition of Black's Law Dictionary, -fraud- is defined as: "A knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment."[FN 1]

The so-called Francisco de Goya’s “Disasters of War” exhibition is being misrepresented by the University of Georgia and its' Georgia Museum of Art as: "Perhaps his greatest achievement as a printmaker, this famous series of prints concentrates on the lengthy Peninsular War (1808–1814) between Spanish forces and the invading army of Napoleon Bonaparte"[FN 2] when in fact it consists of eighty non-disclosed posthumous [1906] -forgeries-, impressed from posthumously [1863 or later] reworked and altered plates, that are being falsely attributed as etchings ie., original works of visual art to a dead Francisco de Goya y Lucientes.

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 3]

Francisco de Goya y Lucientes died in 1828.

Rhetorically, the dead don't etch, much less approve posthumous impressions from posthumously reworked and altered plates.

The University of Georgia and its' Georgia Museum of Art have no shame.

So, without full and honest -disclosure-[FN 4] to these eighty non-disclosed posthumous [1906] -forgeries-, impressed from posthumously [1863 or later] reworked and altered plates, that are being falsely attributed as etchings ie., original works of visual art to a dead Francisco de Goya y Lucientes, how can there be informed -consent-[FN 5] by the public on whether to attend this so-called Francisco de Goya's "Disasters of War" exhibition, much less pay the $3 suggested donation admission fee[FN 6], and including but not limited to other monetary considerations such as paid membership[FN 7] solicited by the museum?

Therefore, in the interest of full and honest disclosure and informed consent by the public for the University of Georgia and its' Georgia Museum of Art's August 18, 2012 - October 28, 2012 Francisco de Goya's "Disasters of War" exhibition, the following will be documented in this monograph:

Bordeaux 1828 to Madrid 1919, Goya gravestones,
the chronology of posthumous reworking and alteration of Goya's original etching plates,
never-ending editions with no limitation,
how a living Goya actually created his etchings ie., original works of visual art,
the professional standards, definitions and laws on what is and what is not an etching,
the University of Georgia's representation versus disclosure,
profiting from forgeries, prior exhibiton venues,
University of Georgia's Honor Code,
truth, resource allocations and fraud, and
the Association of Art Museum Directors' endorsed Professional Practices in Art Museums.

Conclusion
Principals
Footnotes
Addendum: Checklist

1. BORDEAUX 1828 TO MADRID 1919, GOYA GRAVESTONES
In 1828, Francisco de Goya y Lucientes suffered a stroke and died in Bordeaux, France ending his career as an artist/printmaker. He was subsequently interred at the cemetary of the Chartreuse of Bordeaux [photo above left]. In 1919, Francisco de Goya y Lucientes' remains were transferred some 344 miles south to the Royal Chapel of St. Anthony of La Florida in Madrid, Spain [photo on right].

On page 204 of Random House College Dictionary, -career- is defined as: "progress or general course of action of a person through life."[FN 8]

Obviously, the dead have no "progress or general course of action."

DISASTERS OF WAR 1906 EDITION
The Georgia Museum of Art's checklist [see Addendum] for their August 18, 2012 - October 28, 2012 Francisco de Goya's "Disasters of War" exhibition lists all eighty non-disclosed posthumous forgeries as: "etchings - from the Disasters of War 1906 edition."

Additionally, in the June 1, 2012 "Georgia Museum of Art at the University of Georgia to exhibit Goya's "Disasters of War" website release, it states: "The entire set of 80 prints, a 1906 edition, was given to the museum in 1985 by Mr. and Mrs. James B. Anderson."[FN 9]

GOYA'S SERIES - HE CREATED THE IMAGES 200 YEARS AGO
Yet, despite theses admissions of a "1906" date for these non-disclosed forgeries, in a UGA Today published June 4, 2012 "Georgia Museum of Art to exhibit Goya’s ‘Disasters of War’" article by Kathryn Kao, the author quotes the exhibition's organizer and GMOA's Pierre Daura Curator of European Art Lynn Boland contradictorily stating: “Goya’s series is a telling indictment of war and its atrocities that rings as true today as it did when he created the images 200 years ago.”[FN 10]

BAIT AND SWITCH
On page 137 of the Seventh Edition of Black's Law Dictionary, -bait and switch- is defined, in part, as: "Most states prohibit the bait and switch when the original product is not actually available as advertised."[FN 11]

NOT ACTUALLY AVAILABLE AS ADVERTISED

Rhetorically, why would the University of Georgia, Georgia Museum of Art and its' Pierre Daura Curator of European Art Lynn Boland offer the public one thing: -Goya's "Disasters of War"-, for the voluntary price of admission and other monetary considerations, when it "is not actually available as advertised?"

2. Con razon ó sin ella. (With reason or without.), From The Disasters of War (1906 edition), Etching, lavis, drypoint, burin, and burnisher on laid paper, 5 15/16 x 8 1/8 inches (plate), 16 x 22 inches (frame), Georgia Museum of Art, University of Georgia;, Gift of Mr. and Mrs. James B. Anderson, GMOA 1985.11.2

NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE

Con raizon ó sin ella (Rightly or wrongly) / Los Desastres de la Guerra (The Disasters of War), Print made by Francisco Goya, 1810-1812, Plate 2: two Spanish men, one with knife, one with bayonet, attacking soldiers; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. 1810-12, Etching, lavis, drypoint, burin and burnisher, Inscription Content: Numbered on plate. Titled by the artist in pencil below plate, Height: 155 millimetres, Width: 205 millimetres, AN37946001, © The Trustees of the British Museum, Department: Prints & Drawings, Registration number: 1975,1025.421.4
http://www.britishmuseum.org/research/search_the_collection_database/search_object_image.aspx?objectId=1396504&partId=1&searchText=plate+2+goya&fromADBC=ad&toADBC=ad&orig=%2fresearch%2fsearch_the_collection_database.aspx&images=on&numPages=10&currentPage=1&asset_id=37946
LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES

2. REWORKED AND ALTERED PLATES

The posthumous reworking and alteration of Goya's etching plates and the subsequent non-disclosed forgeries impressed from those reworked and altered plates is confirmed, aside from one's own eyes, by following sources:

RETOUCHING TO THE AQUATINT BACKGROUNDS

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 12]

THE PLATES WERE ALTERED

This posthumous reworking and alterations 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 13]

PLATES WERE QUITE EXTENSIVELY RETOUCHED

In "The World Printmakers Great Printmakers Series Francisco de Goya" essay by Mike Booth, 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 14]

GOYA'S ORIGINAL TITLE CHANGED TO DISASTERS OF WAR

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 15]

EXECUTION OF THE CAPTIONS BY ANOTHER HAND
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 16]

In other words, those who reworked and altered Francisco de Goya y Lucientes original etching plates treated them like a child's coloring book, they made it up as they went along substituting their judgment to fit their arrogant sensibilites.

They had no shame.

37. Esto es peor. (This is worse.), From The Disasters of War (1906 edition), Etching, lavis, and drypoint on laid paper, 6 x 8 3/16 inches (plate), 16 x 22 inches (frame), Georgia Museum of Art, University of Georgia;, Gift of Mr. and Mrs. James B. Anderson, GMOA 1985.11.37

NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE

Esto es peor (This is worse) , etching, lavis and drypoint, Print made by Francisco Goya, 1812-1820, Plate 37: male corpse impaled on tree stump, soldiers dragging and hacking at corpses beyond; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. 1812-20, Signed and numbered on plate. Titled by the artist in pencil within platemark, below image, Height: 155 millimetre, Width: 205 millimetres

http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1333729&partid=1&searchText=plate+37+goya&fromADBC=ad&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=1

LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES

3. NEVER-ENDING EDITIONS WITH NO LIMITATION
In the "Medium for the Message: Printmaking and the Disasters of War" essay by Grinnell College's Roxanne Young and Annaliese Beaman, for the 13 August– 12 September 2004 I saw it: The invented Realities of Goya's Disasters of War exhibition at the Faulconer Gallery in the Bucksbaum Center for the Arts on the campus of Grinnell College, 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 17]

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 18]

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 19]

Unfortunately, the term "edition" is being used, as an euphemism for non-disclosed mass-produced forgeries, from posthumously reworked and altered plates, falsely attributed to a dead Francisco de Goya y Lucientes.

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 20]

4. HOW DID GOYA CREATED HIS ETCHINGS?

In the curators Annaliese Beaman and Roxanne Young's "The Medium for the Message: Printmaking and the Disasters of War" essay for the 13 August– 12 September 2004 I saw it: The invented Realities of Goya's Disasters of War exhibition at the Faulconer Gallery in the Bucksbaum Center for the Arts on the campus of Grinnell College, the curators wrote: "Understanding the process by which an etching is made is invaluable in appreciating Francisco Goya’s supreme mastery of this difficult medium. The processes Goya used to prepare the plates for the Disasters of War print series are broadly categorized as intaglio, a general term for the type of printmaking in which the lines carved into a metal plate are the same lines that later hold and print ink, as opposed to relief processes, such as woodcut, in which the parts of the plate that hold ink are those parts left untouched. Viewing the Disasters leaves no doubt that the methods Goya used were complicated and required a number of tools to render the varied effects in his prints. In fact, Goya combined several specific methods of etching and aquatint to achieve the rich lineal and tonal qualities we see in his prints. Some of these methods were old ones that had been mastered by many artists before Goya’s lifetime, while others marked innovations in printmaking that were being pioneered at the turn of the nineteenth century while Goya was creating the Disasters of War."[FN 21]

ETCHINGS PRINTED BY THE ARTIST
The curators Annaliese Beaman and Roxanne Young additionally wrote of how the artist such as Francisco de Goya y Lucientes would: "coat the copper plate with acid-resistant ground, scratch lines into the ground, place the copper plate in acid solution that bites the exposed copper giving grooves for holding the ink for printing, sometime engrave ie., carve directly into the plate, aquatint ie., texture, apply lavis ie., acid-resistant varnish to create even tones, and burnish ie., erase to flatten out textured areas to create highlights for the original works of visual art ie., etchings printed by the artist "or a commissioned printmaker."[FN 22]

OR A COMMISSIONED PRINTMAKER
Rhetorically, was that a slight-of-hand opening: "or a commissioned printmaker," with or without intent, given by Grinnell College curators as a plausible explanation for Grinnell College's acceptance of non-disclosed posthumous forgeries impressed in 1930 from posthumously [after 1863] reworked and altered plates?

NOT ACTUALLY AVAILABLE AS ADVERTISED
Regardless, the 13 August– 12 September 2004 I saw it: The invented Realities of Goya's Disasters of War exhibition at the Faulconer Gallery in the Bucksbaum Center for the Arts on the campus of Grinnell College was nothing more than just another -bait and switch- ie., "not actually available as advertised?"

5. WHAT IS AND IS NOT AN ETCHING

"What is and is not an etching" means that even if you have an artists' etching plates such as Francisco de Goya y Lucientes' etching plates, -no- etchings ie., original works of visual art can be printed from those plates without that living artist's, much less a living Goya's, participation and approval.

ARTIST PARTICIPATION REQUIRED
That is confirmed in The Fifth Edition of the Artist`s Handbook of Materials and Techniques by Ralph Mayer, where the author wrote: "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 23]

The dead don't participate.

MADE AND APPROVED BY ARTIST
That is additionally confirmed by 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, where the authors wrote: "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 24]

The dead don't approve.

WHOLLY EXECUTED BY HAND BY THE ARTIST
Furthermore, 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 25]

The dead don't execute.

Under U.S. Copyright Law’s 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.”[FN 26]

So, aside ordinary sense, much less U.S. Copyright Law, in 1906 a dead Francisco de Goya y Lucientes could not have created any etchings ie., works of visual art, much less signed and consecutively number any limited edition.

Under U.S. Copyright Law 101. Definitions, a -derivative work- is defined as an: "art reproduction"[FN 27] and under U.S. Copyright Law 106A. the "Rights of certain authors to attribution and integrity - shall not apply to any reproduction."[FN 28]

Therefore, if reproductions of Goya's original works of visual art would not be attributable to him, why would an academic university, much less its' museum, believe it would be any different for non-disclosed posthumous forgeries impressed from posthumously reworked and altered plates?

In other words, ignoring for the moment, Goya's etching plates have been posthumously reworked and altered, ignoring for the moment that under U.S. Copyright Law, much less ordinary sense, you can't make an original works of visual art ie., etchings attributable to a dead artist, much less a dead Goya, and ignoring for the moment that for something to be considered a limited edition, it must be an work of visual art and signed and consecutively numbered by the author which a dead Goya could not, the University of Georgia and its' Georgia Museum of Art seems either to believe and/or act on the belief the living presence of Francisco de Goya y Lucientes is not required to create, approve and print the work they are so eager to give him credit for.

6. REPRESENTATION VS DISCLOSURE
In a June 1, 2012 "Georgia Museum of Art at the University of Georgia to exhibit Goya’s “Disasters of War” press release, the University of Georgia's Georgia Museum of Art makes the following -representation-: "The Georgia Museum of Art (GMOA) at the University of Georgia will exhibit Francisco de Goya’s (1746–1828) “Disasters of War” August 18 to October 28, 2012. This exhibition will feature all 80 prints that make up the famous series depicting the lengthy Peninsular War (1808–1814) between Spanish forces and the invading army of Napoleon Bonaparte. - this print series is one of the earliest attempts by an artist to record history as it was unfolding. Based on Goya’s experience of the conflict, each image is a powerful eyewitness account of the death and destruction war generates."[FN 29]

On page 1303 of the Seventh Edition of Black’s Law Dictionary, -representation- is defined as: “A presentation of fact - either by words or by conduct - made to induce someone to act, esp to enter into a contract."[FN 30]

Yet, despite "this print series [being] one of the earliest attempts by [Goya] to record history as it was unfolding," seven paragraphs later in this same press release the University of Georgia's Georgia Museum of Art makes the following -disclosure-: "The entire set of 80 prints, a 1906 edition, was given to the museum in 1985 by Mr. and Mrs. James B. Anderson."[FN 31]

On page 476 of the Seventh Edition of Black’s Law Dictionary, -disclosure- is defined as: “The act or process of making known something that was previously unknown.”[FN 32]

In other words, the University of Georgia's Georgia Museum of Art's representation: "this print series [being] one of the earliest attempts by [Goya] to record history as it was unfolding," does not match their disclosure: "the entire set of 80 prints, a 1906 edition."

GOYA'S GENERAL SENTIMENTS IN 1906
So, despite Georgia Museum of Art's Pierre Daura Curator of European Art Lynn Boland statement: “Goya’s general sentiments are immediately clear in the prints, but some of the nuances of his critiques require explanations for contemporary viewers,” for this "1906 edition" of non-disclosed posthumous forgeries from posthumously [after 1863] reworked and altered plates, Francisco de Goya y Lucientes [d 1828] was, in 1906, some 78 years dead.

The dead don't have sentiments.

HE CREATED THE IMAGES 200 YEARS AGO
So, when 100 percent of the so-called "etchings" in this University of Georgia and its' Georgia Museum of Art's August 18, 2012 - October 26, 2012 Francisco de Goya’s “Disasters of War” exhibition are non-disclosed posthumous [1906] forgeries impressed from posthumously [after 1863] reworked and altered plates, hyped by the Georgia Museum of Art's Pierre Daura Curator of European Art Lynn Boland as predating his death for monetary considerations including but not limited to the $3 [each] price of admission [voluntary], and museum membership, should it be just be considered a lack of connoisseurship?

In Paul Duro and Michael Greenhalgh’s published Essential Art History, -connoisseurship- is defined as: “that of the art expert able to distinguish between the authentic and non-authentic, for example between an original and a copy.”[FN 33]

Someday, the University of Georgia, its' Georgia Museum of Art and curators may someday admit they had little to no idea what they were talking about, much less exhibiting but that would be a plausible explanation but not an excuse.

Francisco de Goya, Con razon o sin ella, (Rightly or wrongly.), from The Disasters of War, 1810-14, etching, 5 15/16” x 8 1/8” (plate), Georgia Museum of Art, University of Georgia,gift of Mr. and Mrs. James B. Anderson.

http://unh.edu/news/campusjournal/2007/Jan/10goya.cfm

NON-DISCLOSED FORGERY FROM POSTHUMOUSLY REWORKED AND ALTERED PLATES

7. PROFITING FROM FORGERIES, PRIOR EXHIBITION VENUES
For, at least, the last half a decade or so, the University of Georgia and its' Georgia Museum of Art has been profiting from their collection of non-disclosed forgeries, falsely attributed as "Disasters of War" etchings to dead Francisco de Goya y Lucientes, by lending them to other academic and/or cultural venues for a $2,000 fee.[FN 34]

UNIVERSITY OF NEW HAMPSHIRE
One of those academic venues was from January 20, 2007 to April 7, 2007 at The Art Gallery, Paul Creative Arts Center on the campus of University of New Hampshire. In a University of New Hampshire Campus Journal [News for Faculty and Staff] published January 10, 2007 "Art Gallery Presents Goya Prints and Works by NH Art Association" press release, it stated: "The Disasters of War by Goya: Selections from the Georgia Museum of Art, features 40 etchings from a series created by Goya (1704-1838), Spain's most important artist of the late 18th and early 19th centuries."[FN 35]

The -most important- fact left out, with or without intent, by the UNH Campus Journal, in their promotion of these 40 non-disclosed posthumous forgeries, from posthumously reworked and altered plates, is they were actually forged in 1906, the early 20th-century.

Francisco de Goya y Lucientes died in 1828, some 78 years earlier in the 19th-century.

“Y no hai remedio (And there’s nothing to be done),” sketched by Francisco de Goya to document Spain’s Peninsular War with France in the early 19th century, makes a political statement in support of peace. It’s one of 40 prints on exhibition in “The Disasters of War” by Goya: Selections from the Georgia Museum of Art at BCCC’s Hicks Art Center Gallery in Newtown Jan. 23 – March 19. A gallery reception takes place Thursday, Feb. 7 from 5 – 7 p.m. followed by an art historian’s lecture at 7 p.m. Admission is free.

http://www.americantowns.com/pa/newtown/news/hicks-art-center-gallery-presents-the-disasters-of-war-by-goya-76333
NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE

BUCKS COUNTY COMMUNITY COLLEGE
Another academic venue, for these non-disclosed forgeries, was from January 23, 2008 to March 19, 2008 at the Hicks Art Center Gallery on the campus of Bucks County Community College. In a published release, it stated: “The Disasters of War” by Goya: Selections from the Georgia Museum of Art. 40 prints by Francisco de Goya depicting death and destruction during Spain’s 19th century Peninsular War with France"[FN 36] with "Admission to gallery and all events is free."[FN 37]

Unfortunately, free comes at considerable cost, the Hicks Art Centere Gallery and Bucks County Community College's credibility.

HARD TO BELIEVE
That cost was never more evident than in The Centurion, The Student newspaper of Bucks County Community College's published December 11, 2007 "Hicks Art Center plays host to 'Disasters'" article by Sara Crouse. The student reporter wrote: "When asked to comment on Goya's etchings, Sonya Ral, a high school student at Central Bucks East said, "It's hard to believe an artist in my history book is on exhibit at Bucks."[FN 38]

If this high school student had been given full and honest disclosure, to the University of Georgia and its' Georgia Museum of Art's collection of non-disclosed "Disasters of War" forgeries, impressed from posthumously reworked and altered plates, she might have realized it would be -impossibly- "hard to believe an artist in my history book is on exhibit at Bucks."[FN 39]

Then to go from the ridiculous to the sublime, after writing the "Goya’s collection is created using a type of printmaking called intaglio printing,"[FN 40] then describing how the "artists use sharp tools and acid to make grooves in metal plates and these depressed areas below the surface of the plate hold the ink. The surface of the plate is then wiped clean and a dampened paper is applied with pressure to the plate and the inked grooves create the impression,"[FN 41] the student reporter then wrote: “The Disasters of War,” a series to support peace, was not published until 35 years after Goya’s death in 1828."[FN 42]

Aside the University of Georgia and its' Georgia Museum of Art's collection of non-disclosed "Disasters of War" forgeries were impressed from posthumously reworked and altered plates in 1906 some 78 years after Goya's death in 1828, the student reporter, much less The Centurion editor and/or the student newspaper's academic advisor, seem not to realize she had contradicted herself?

The dead don't etch.

8. UNIVERSITY OF GEORGIA'S HONOR CODE
“Academic Honesty” means performing all academic work without plagiarism, cheating, lying, tampering, stealing, giving or receiving unauthorized assistance from any other person, or using any source of information that is not common knowledge without properly acknowledging the source." [FN 43]

On page 1 of the University of Georgia's Code of Conduct 2012-2013, under the heading "I. Introduction" and subtitle "Purpose," it states: "The University of Georgia’s primary mission is to develop intellectual community within an environment that fosters respect and integrity among its members."[FN 44]

On page 4 of the University of Georgia's Code of Conduct 2012-2012, under the heading "V. Conduct Regulations," it states: "The following actions are prohibited and constitute a violation of the University of Georgia Student Code of Conduct."[FN 45]

Academic Dishonesty

"Knowingly performing, attempting to perform, or assisting another in performing any act of academic dishonesty.

"The University of Georgia’s Honor Code, a supplement to the University’s academic honesty policy states, “I will be academically honest in all of my academic work and will not tolerate academic dishonesty of others.”[FN 46]

Additionally, it states: "To determine whether an organization is responsible for a violation of the code of conduct, all circumstances will be considered, including, but not limited to: a) whether the misconduct was committed by one or more members of the organization; b) whether officers of the organization had prior knowledge of the misconduct; c) whether organization funds were used; d) whether the misconduct occurred as a result of an organization-sponsored function; and e) whether members of the organization lied about the incident." [FN 47]

"All members of the University community have a responsibility to uphold and maintain an honest academic environment and to report when dishonesty occurs. Where suspected violations of the academic honesty policy occur, appropriate procedures are designed to protect the integrity of the academic process while ensuring due process. The University's academic honesty system is an academic process founded on educational opportunities."[FN 48]

So, rhetorically, should the University of Georgia and its' Georgia Museum of Art be held to a lesser standard of disclosure and ethics than its' students?

9. TRUTH, RESOURCE ALLOCATION AND FRAUD
On page 816-817 of Kluwer Law International’s published 1998 Law, Ethics and the Visual Arts, Third Edition by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.”[FN 49]

Under the subtitle “Truth,” the authors wrote: “The most serious harm that good counterfeits do is to confuse and misdirect the search for valid learning. The counterfeit objects falsiﬁes history and misdirects inquiry.”[FN 50]

Additionally, under the subtitle “Resource Allocation,” the authors wrote: “Museum and art historical resources are always limited. What gets acquired, displayed, conserved and studied is the result of a continuous process of triage, in which some objects can be favoured only at the expenses of others. Counterfeit objects distort the process.”[FN 51]

Finally, under the subtitle “Fraud,” the authors wrote: “There remains the most obvious harm of all: counterfeit cultural objects are instruments of fraud. Most are created in order to deceive and defraud, but even “innocent” counterfeits can, and often will, be so used. The same considerations of justice and social order that make deliberate fraud of others kinds criminal apply equally to fraud through the medium of counterfeit art.”[FN 52]

Title page to the fourth edition of Goya's 'Los Desastres de la Guerra', printed in the Calcografia for the Real Academia, Published in Madrid, 1906, Height: 231 millimetres, Width: 355 millimetres, This edition, limited to 275 examples, was produced with two title pages differing in type, both dated 1906 and copied from the third edition.
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1396630&partid=1&searchText=Los+Desastres+de+la+Guerra&fromADBC=ad&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=1
1906 TITLE PAGE FOR SOME 22,000 NON-DISCLOSED FORGERIES FROM POSTHUMOUSLY REWORKED AND ALTERED PLATES

10. PROFESSIONAL PRACTICES IN MUSEUMS
On page 31 in the Association of Art Museum's published 2001 Professional Practices in Art Museum manual, under the subtitle -Reproductions of Works of Art-, it states: “misleading marketing of reproductions, has created such widespread confusion as to require clariﬁcation in order to maintain professional standards. - 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 - signatures, edition numbers, and printer's symbols or titles must not appear in the reproduction if in the original they occur outside the borders of the image.”[FN53]

Additionally, it states that "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 reproduction, he or she is acquiring an original work of art."[FN 54]

Despite the University of Georgia and its' Georgia Museum of Art's own "Checklist" disclosing it as a "(1906 edition)," it continues in this same "Checklist" to list everyone of their 80 non-disclosed forgeries impressed from posthumously reworked and altered plates as etchings ie., original works of visual art and astoundingly as "all works by Francisco de Goya (Spanish, 1746-1828)."

Rhetorically, does the left hand know what the right hand is doing?

In a UGA Today, News and Information from the University of Georgia's published June 4, 2012 "Georgia Museum of Art to exhibit Goya’s ‘Disasters of War’" article by Kathryn Kao, the author wrote: "the print series is one of the earliest attempts by an artist to record history as it was unfolding. Based on Goya's experience of the conflict, each image is a powerful eyewitness account of the death and destruction war generates."[FN 55]

These non-disclosed forgeries impressed from posthumously reworked and altered plates listed in the Georgia Museum of Art's exhibition checklist as "(edition 1906)" could not be "one of the earliest attempts" by a dead Francisco de Goya y Lucientes [d 1828] "to record history as it was unfolding" since he was history.

The dead are history.

Additionally, these non-disclosed forgeries impressed from posthumously reworked and altered plates could never be "a powerful eyewitness account of the death and destruction war generates,"[FN 55] by a dead Francisco de Goya y Lucientes [d 1828] since the dead Goya is dead and could never be an eyewitness to anything, much less the reworking and alteration of his plates after 1863, and their subsequent impressing of over 80,000 non-disclosed forgeries between 1863 till 1970 and beyond.

The dead don't eyewitness.

Y no hai remedio (And there's no help for it) / Los Desastres de la Guerra (The Disasters of War), etching, drypoint, burin and burnisher, Print made by Francisco Goya, 1810-12, Plate 15: man bound to post at edge of pit, another dead on floor beside him, with firing squad executing another behind; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. 1810-12, Numbered on plate. Titled by the artist in pencil within platemark, below image, Height: 140 millimetre, Width: 165 millimetres

http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1333670&partid=1&searchText=Los+Desastres+de+la+Guerra&fromADBC=ad&toADBC=ad&numpages=10&images=on&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=17

LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES

Then to go from the ridiculous to the sublime, in a UGA Today, News and Information from the University of Georgia's published June 4, 2012 "Georgia Museum of Art to exhibit Goya’s ‘Disasters of War’" article by Kathryn Kao, the author repeats misinformation and nonsense in one sentence when she wrote: "Goya did not print these etchings during his lifetime. The first set of prints was not published until 1863, when it was finally considered politically safe to distribute works of art criticizing the French and the Bourbon Restoration."[FN 57]

First, posthumous impressions could never be "works of art" no matter what they may criticize, much less whether they are posthumous impressions from posthumously reworked and altered plates.

The dead aren't political, much less afraid of criticism.

485 LIFETIME DISASTERS OF WAR WORKING PROOFS

Second, Francisco de Goya y Lucientes actually printed "485 working proofs"[FN 58] of his "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" translated as: (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) a.k.a. the "Disasters of War."

In "The Medium for the Message: Printmaking and the Disasters of War" essay by curators Annaliese Beaman and Roxanne Young for Grinnell College's Goya's Disasters of War exhibition held in their Faulconer Gallery of non-disclosed forgeries impressed in 1930 from reworked and altered plates, the curators wrote: "Collectors, especially modern ones, value these proofs largely because of their limited number and direct connection to the artist’s working method and thought."[FN 59]

Ironically, Grinnell College has similar philosophy on "Policy on plagiarism and attribution" for its' students which in part state: Some of the required work for this course, most notably the team project, is naturally collaborative in nature. However, since your grade for the course is based on your individual performance, it is both ethically responsible and prudent to cite and acknowledge the work of each of the contributors to a collaborative project and to allocate credit accurately. Both collaboration and the use of outside work are prohibited on the first programming exercise, which is partly diagnostic in intent. The work you submit on this exercise must be entirely your own."[FN 60]

Rhetorically, upon Francisco de Goya y Lucientes death in 1828, any individual performances or exercises entirely on his own, much less collaborative days were over.

The dead are dead.

80. Si resucitará? (Will she rise again?), From The Disasters of War (1906 edition), Etching and burnisher on laid paper, 6 13/16 x 8 9/16 inches (plate), 16 x 22 inches (frame), Georgia Museum of Art, University of Georgia;, Gift of Mr. and Mrs. James B. Andersonm GMOA 1985.11.80

NON-DISCLOSED FORGERY FROM A POSTHUMOUSLY REWORKED AND ALTERED PLATE

Si resucitará? (Will she rise again?) / Los Desastres de la Guerra (The Disasters of War), etching, Print made by Francisco Goya (biographical details | all objects), Plate 80: allegorical female figure of Truth lying on ground, surrounded by figures, light emanating from her head; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. 1812-20, Etching and burnisher, Inscription Content: Signed and numbered on plate. Titled by the artist in pencil within platemark, below image, Height: 176 millimetres, Width: 216 millimetres, 1812-1820

http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1334041&partid=1&searchText=plate+80+goya&fromADBC=ad&toADBC=ad&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=2

LIFETIME ETCHING BY FRANCISCO DE GOYA Y LUCIENTES

CONCLUSION
What needs to be accomplished is the full and honest disclosure to non-disclosed posthumous forgeries by all museums, auction houses, academia, galleries and art dealers. If the University of Georgia and its' Georgia Museum of Art, in their August 18, 2012 - October 28, 2012 Francisco de Goya's "Disasters of War" exhibition, will give full and honest disclosure to their eighty non-disclosed posthumous [1906] -forgeries- printed from posthumously [1863 or later] reworked and altered plates, falsely attributed as original works of visual art ie., etchings to a Francisco Goya y Lucientes, it would allow consumers the potential to give informed consent on whether to attend an exhibition of non-disclosed posthumous forgeries, much less including but not limited to voluntarily paying the $3 price of admission.

Failure to give full and honest disclosure to non-disclosed posthumous forgeries my bring potential serious consequences of law for those who chose to misrepresent those them for monetary consideration.

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.

To quote Francisco de Goya y Lucientes' title concerning the truth: "Si resucitará?" (Will she rise again)?

Caveat Emptor!

PRINCIPALS:
William U. Eiland
Director
Georgia Museum of Art
90 Carlton Street
University of Georgia
Athens, GA 30602-6719
706.542.0441

Lynn Boland
Pierre Daura Curator of
European Art, Daura Center
706.542.1208
lboland@uga.edu

FOOTNOTES:

2.http://www.georgiamuseum.org/art/exhibitions/upcoming/selections-from-goyas-disasters-of-war

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

4. Ibid, On page 477 of the Seventh Edition of Black’s Law Dictionary, -disclosure- is defined as: “The act or process of making known something that was previously unknown.”

5. Ibid, On page 300 of the Seventh Edition of Black’s Law Dictionary, -consent- is defined as: “Agreement, approval or permission as to some act or purpose, esp. given voluntarily by a competent person.”

6. http://www.georgiamuseum.org/visit/hours

7. http://www.georgiamuseum.org/join/

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Reciprocity
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9. http://www.georgiamuseum.org/art/exhibitions/upcoming/selections-from-goyas-disasters-of-war

10. http://news.uga.edu/releases/article/georgia-museum-of-art-to-exhibit-goya/

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

13. New Haven: Yale University Press, 1992, ISBN 0-3-005462-9

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

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

16. Copyright © 1967 by Dover Publications, Inc.

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

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

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

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

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

22. Ibid

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

24.© 1965 by Print Council of America, Library of Congress, Catalog Card Number: 65-24325, Seventh Printing, March, 1971

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

26. http://www.copyright.gov/title17/92chap1.html#101

27. Ibid

28, http://www.copyright.go/title17/92chap1.html#106a

29. http://www.georgiamuseum.org/about/pressroom-item/georgia-museum-of-art-to-exhibit-goyas-disasters-of-war

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

31.http://www.georgiamuseum.org/about/pressroom-item/georgia-museum-of-art-to-exhibit-goyas-disasters-of-war

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

33. rubens.anu.edu.au/htdocs/teach/eah/ImageServe

34. “"So I thought it would be a good tie-in not only with art but with theater and drama in terms of theme," said Wright who collaborated with Kaye, found the exhibit for the right price ($2,000) at the Georgia Museum of Art, University of Georgia, Athens, and set up the exhibit at UNH to follow the Greek Trilogy Project.”
Excerpt from The New Hampshire [student-run] newspaper published March 28 2007 “Emotional exhibit documents the disasters of war” article by Michael Farrell [The New Hampshire (TNH) is the University of New Hampshire's only student-run newspaper. It is published every week on Tuesdays and Fridays throughout the academic year and has a print circulation of approximately 5,000. It's office is located in room 156 of the Memorial Union Building (pictured to the left). Click here for editorial and advertising contact information.]
[cache] http://www.tnhonline.com/

35. http://unh.edu/news/campusjournal/2007/Jan/10goya.cfm

36. http://www.americantowns.com/pa/newtown/news/hicks-art-center-gallery-presents-the-disasters-of-war-by-goya-76333
The Disasters of War” by Goya: Selections from the Georgia Museum of Art. 40 prints by Francisco de Goya depicting death and destruction during Spain’s 19th century Peninsular War with France. January 23 – March 19, Hicks Art Center Gallery, Bucks County Community College, 275 Swamp Road, Newtown. Gallery reception 5 – 7 p.m., including 6 p.m. gallery talk, Thur., Feb. 7. Slide lecture by art historian Dr. Roberta A. Mayer, “Goya in Context,” 7 p.m. Thur., Feb. 7 in the Music and Multimedia Center. Admission to gallery and all events is free.

37. Ibid

38. http://www.bucks-news.com/studentlife/2007/12/11/hicks-art-center-plays-host-to-disasters/

39. Ibid

40. Ibid

41. Ibid

42. Ibid

43. http://honesty.uga.edu/ahpd/definitions.html#honesty

44. http://www.conduct.uga.edu/
The 2012-2013 Code of Conduct takes effect on Monday, May 14, 2012. All current students are responsible for knowing and adhering to the current code. We encourage you to read through the updated version in its entirety and welcome any questions you may have. A complete description of the regulations and procedures for handling matters of academic dishonesty appear in the policy manual, A Culture of Honesty, which is available in the Office of the Vice President for Instruction, 114 New College (706-542-4336), in the Student Handbook under Academic Policies and Procedures, at The Office of Student Affairs for Gwinnett University Center (room A1160), and online at http://honesty.uga.edu. www.uga.edu/eoo/pdfs/NDAH.pdf.

45. Ibid

46. Ibid

47. Ibid

48.http://honesty.uga.edu/

49. © Kluwer Law International 1998, ISBN: 90-411-0697-9

50. Ibid

51. Ibid

52. Ibid

53. Copyright 2001 by the Association of Art Museum Directors, ISBN: 1-880974-02-9

54. Ibid

55. http://news.uga.edu/releases/article/georgia-museum-of-art-to-exhibit-goya/

56. Ibid

57. Ibid

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

59. Ibid

60. http://drupal.cs.grinnell.edu/~stone/courses/software-design/plagiarism.html

ADDENDUM:

Georgia Museum of Art's Goya Checklist.pdf

The Link is:

http://www.georgiamuseum.org/image/dnRha29hMWZuZG1xNmFEZ2o2SGgwOVdMNDh2VmxhYmdYdDNVbXFIWTRwYVh6dUhjbHVXM3hxTmcxSlBmMTV6bDIrMlRvZDNmbTNIRHBhT1BlT0twejhHVzJ0ZmNsWjdZMytCWTVyckk=.

Francisco Goya’s “Disasters of War”
Lamar Dodd Gallery, August 18–October 28, 2012
80 works total
All works by Francisco de Goya (Spanish, 1746–1828)

1. Tristes presentimientos de lo que ha de acontecer.
   (Sad forebodings of what is going to happen.)
From The Disasters of War (1906 edition)
Etching, burin, drypoint, and burnisher on laid paper
6 7/8 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.1

2. Con razon ó sin ella. (With reason or without.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
5 15/16 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.2

3. Lo mismo. (The same.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 1/4 x 8 5/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.3

4. Las mugeres dan valor. (The women give courage.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, drypoint, and burnisher on laid paper
6 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.4

5. Y son fieras. (And they are like wild beasts.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, and drypoint on laid paper
5 7/8 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.5

6. Bien te se está. (It serves you right.)
From The Disasters of War (1906 edition)
Etching, lavis, and burin on laid paper
5 1/2 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.6

7. Que valor! (What courage!)
From The Disasters of War (1906 edition)
Etching, aquatint, drypoint, burin, and burnisher on laid paper
6 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.7

8. Siempre sucede. (It always happens.)
From The Disasters of War (1906 edition)
Etching and drypoint on laid paper
6 3/4 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.8

9. No quieren. (They don’t like it.)
From The Disasters of War (1906 edition)
Etching
5 7/8 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.9

10. Tampoco. (Nor [do these] either.)
From The Disasters of War (1906 edition)
3
Etching and burin on laid paper
5 3/4 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.10

11. Ni por esas. (Neither do these.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, and burin on laid paper
6 1/4 x 8 5/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.11

12. Para eso habeis nacido. (This is what you were born for.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, and burin on laid paper
6 3/16 x 9 1/4 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.12

13. Amarga presencia. (Bitter to be present.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
5 1/2 x 6 5/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.13

14. Duro es el paso! (It's a hard step!)
From The Disasters of War (1906 edition)
Etching, burnished lavis, drypoint, and burin on laid paper
5 1/2 x 6 5/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.14

15. Y no hai remedio. (And there’s no help for it.)
From The Disasters of War (1906 edition)
Etching, drypoint, burin, and burnisher on laid paper
5 7/16 x 6 1/2 inches (plate)
16 x 22 inches (frame)
4
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.15

16. Se aprovechan. (They make use of them.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 1/4 x 9 1/4 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.16

17. No se convienen. (They do not agree.)
From The Disasters of War (1906 edition)
Etching, drypoint, burin, and burnisher on laid paper
5 5/8 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.17

18. Enterrar y callar. (Bury them and keep quiet.)
From The Disasters of War (1906 edition)
Etching, burnished lavis, drypoint, and burin on laid paper
6 1/4 x 9 1/4 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.18

19. Ya no hay tiempo. (There isn’t time now.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 3/8 x 9 3/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.19

20. Curarlos, y à otra. (Get them well, and on to the next.)
From The Disasters of War (1906 edition)
Etching, lavis, burin, and burnisher on laid paper
6 1/4 x 9 3/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.20
5

21. Serà lo mismo. (It will be the same.)
From The Disasters of War (1906 edition)
Etching and burnished lavis on laid paper
5 11/16 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.21

22. Tanto y mas. (Even worse.)
From The Disasters of War (1906 edition)
Etching, lavis, and burin on laid paper
6 1/4 x 9 15/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.22

23. Lo mismo en otras partes. (The same elsewhere.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, and burin on laid paper
6 3/16 x 9 3/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.23

24. Aun podrán servir. (They can still be of use.)
From The Disasters of War (1906 edition)
Etching and burnisher on laid paper
6 1/4 x 9 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.24

25. Tambien estos. (These too.)
From The Disasters of War (1906 edition)
Etching, drypoint, and burin on laid paper
6 3/8 x 9 3/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.25

26. No se puede mirar. (One can’t look.)
From The Disasters of War (1906 edition)
6
Etching, burnished lavis, drypoint, and burin on laid paper
5 9/16 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.26

27. Caridad. (Charity.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 1/4 x 9 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.27

28. Populacho. (Rabble.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 13/16 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.28

29. Lo merecia. (He deserved it.)
From The Disasters of War (1906 edition)
Etching, drypoint, burin, and burnisher on laid paper
6 15/16 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.29

30. Estragos de la guerra. (Ravages of war.)
From The Disasters of War (1906 edition)
Etching, drypoint, burin, and burnisher on laid paper
5 1/2 x 6 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.30

31. Fuerte cosa es! (That’s tough!)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, and drypoint on laid paper
6 x 8 1/16 inches (plate)
16 x 22 inches (frame)
7
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.31

32. Por qué? (Why?)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 1/16 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.32

33. Qué hai que haur mas? (What more can be done?)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 1/8 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.33

34. Por una navaja. (On account of a knife.)
From The Disasters of War (1906 edition)
Etching, drypoint, burin, and burnisher on laid paper
6 1/16 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.34

35. No se puede saber por qué. (One can’t tell why.)
From The Disasters of War (1906 edition)
Etching, burnished lavis, drypoint, and burin on laid paper
6 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.35

36. Tampoco. (Not [in this case] either.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, drypoint, burin, and burnisher on laid paper
6 1/16 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.36
8

37. Esto es peor. (This is worse.)
From The Disasters of War (1906 edition)
Etching, lavis, and drypoint on laid paper
6 x 8 3/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.37

38. Bárbaros! (Barbarians!)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, burin, and burnisher on laid paper
6 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.38

39. Grande hazaña! Con muertos! (A heroic feat! With dead men!)
From The Disasters of War (1906 edition)
Etching, lavis, and drypoint on laid paper
6 1/16 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.39

40. Algun partido saca. (He gets something out of it.)
From The Disasters of War (1906 edition)
Etching, drypoint, and burin on laid paper
6 7/8 x 8 11/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.40

41. Escapan entre las llamas. (They escape through the flames.)
From The Disasters of War (1906 edition)
Etching and burin on laid paper
6 1/4 x 9 3/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.41

42. Todo va revuelto. (Everything is topsy-turvy.)
From The Disasters of War (1906 edition)
9
Etching and burin on laid paper
6 13/16 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.42

43. Tambien esto. (This too.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, and burnisher on laid paper
6 1/8 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.43

44. Yo lo vi. (I saw it.)
From The Disasters of War (1906 edition)
Etching, drypoint, and burin on laid paper
6 3/16 x 9 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.44

45. Y esto tambien. (And this too.)
From The Disasters of War (1906 edition)
Etching, aquatint or lavis, drypoint, and burin on laid paper
6 3/8 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.45

46. Esto es malo. (This is bad.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, lavis, drypoint, burin, and burnisher on laid paper
6 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.46

47. Así sucedió. (This is how it happened.)
From The Disasters of War (1906 edition)
Etching, burnished lavis, drypoint, burin, and burnisher on laid paper
6 x 8 1/16 inches (plate)
16 x 22 inches (frame)
10
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.47

48. Cruel lastima. (Cruel tale of woe!)
From The Disasters of War (1906 edition)
Etching, lavis, burin, and burnisher on laid paper
6 1/16 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.48

49. Caridad de una muger. (A woman’s charity.)
From The Disasters of War (1906 edition)
Etching, lavis, burin, and burnisher on laid paper
6 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.49

50. Madre infeliz! (Unhappy mother!)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, and drypoint on laid paper
5 15/16 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.50

51. Gracias á la almorta (Thanks to the millet)
From The Disasters of War (1906 edition)
Etching and burnished aquatint on laid paper
6 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.51

52. No llegan á tiempo. (They do not arrive in time.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, and burin on laid paper
6 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.52
11

53. Espiró sin remedio. (There was nothing to be done and he died.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, lavis, burin, and burnisher on laid paper
6 1/16 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.53

54. Clamores en vano. (Appeals are in vain.)
From The Disasters of War (1906 edition)
Etching, lavis, burin, and burnisher on laid paper
5 15/16 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.54

55. Lo peor es pedir. (The worst is to beg.)
From The Disasters of War (1906 edition)
Etching, lavis, and burnisher on laid paper
6 1/8 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.55

56. Al cementerio. (To the cemetery.)
From The Disasters of War (1906 edition)
Etching, lavis, and drypoint on laid paper
6 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.56

57. Sanos y enfermos. (The healthy and the sick.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, burin, and burnisher on laid paper
6 1/16 x 8 1/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.57

58. No hay que dar voces. (It’s no use crying out.)
From The Disasters of War (1906 edition)
12
Etching, burnished aquatint, burin, and burnisher on laid paper
6 1/8 x 8 3/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.58

59. De qué sirve una taza? (What is the use of a cup?)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, and lavis on laid paper
5 15/16 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.59

60. No hay guien los socorra. (There is no one to help them.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, burin, and burnisher on laid paper
5 7/8 x 7 7/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.60

61. Si son de otro linage. (Perhaps they are of another breed.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 x 8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.61

62. Las camas de la muerte. (The beds of death.)
From The Disasters of War (1906 edition)
Etching, lavis, drypoint, burin, and burnisher on laid paper
6 7/8 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.62

63. Muertos recogidos. (Harvest of the dead.)
From The Disasters of War (1906 edition)
Etching and burnished aquatint on laid paper
5 7/8 x 8 inches (plate)
16 x 22 inches (frame)
13
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.63

64. Carretadas al cemeterio. (Cartloads to the cemetery.)
From The Disasters of War (1906 edition)
Etching, aquatint, drypoint, burin, and burnisher on laid paper
6 1/16 x 8 1/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.64

65. Qué alboroto es este? (What is this hubbub?)
From The Disasters of War (1906 edition)
Etching, burnished aquatint and/or lavis, burin, and burnisher on laid paper
6 7/8 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.65

66. Extraña devocion! (Strange devotion!)
From The Disasters of War (1906 edition)
Etching and burnished aquatint or lavis and burnisher on laid paper
6 13/16 x 8 5/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.66

67. Esta no lo es menos. (This is not less so.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, burin, and burnisher on laid paper
6 15/16 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.67

68. Que locura! (What madness!)
From The Disasters of War (1906 edition)
Etching, lavis, and burin on laid paper
6 5/16 x 8 5/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.68
14

69. Nada. Ello dirá. (Nothing. The event will tell.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint, lavis, drypoint, and burin on laid paper
6 x 7 3/4 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.69

70. No saben el camino. (They do not know the way.)
From The Disasters of War (1906 edition)
Etching, drypoint, burin, and burnisher on laid paper
6 7/8 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.70

71. Contra el bien general. (Against the common good.)
From The Disasters of War (1906 edition)
Etching and burnisher on laid paper
6 7/8 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.71

72. Las resultas. (The consequences.)
From The Disasters of War (1906 edition)
Etching on laid paper
6 11/16 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.72

73. Gatesca Pantomima. (Feline pantomime.)
From The Disasters of War (1906 edition)
Etching, burin, and burnisher on laid paper
6 13/16 x 8 7/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.73

74. Esto es lo peor! (That is the worst of it!)
From The Disasters of War (1906 edition)
15
Etching and burnisher on laid paper
6 7/8 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.74

75. Farándula de charlatanes. (Charlatan’s show.)
From The Disasters of War (1906 edition)
Etching, aquatint or lavis, drypoint, and burin on laid paper
6 11/16 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.75

76. El buitre carnívoro. (The carnivorous vulture.)
From The Disasters of War (1906 edition)
Etching, drypoint, burin, and burnisher on laid paper
6 7/8 x 8 5/8 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.76

77. Que se rompe la cuerda. (May the cord break.)
From The Disasters of War (1906 edition)
Etching, burnished aquatint or lavis, drypoint, and burnisher on laid paper
6 13/16 x 8 1/2 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.77

78. Se defiende bien. (He defends himself well.)
From The Disasters of War (1906 edition)
Etching, drypoint, burin, and burnisher on laid paper
6 7/8 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.78

79. Murió la Verdad. (Truth has died.)
From The Disasters of War (1906 edition)
Etching and burnisher on laid paper
6 3/4 x 8 7/16 inches (plate)
16 x 22 inches (frame)
16
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.79

80. Si resucitará? (Will she rise again?)
From The Disasters of War (1906 edition)
Etching and burnisher on laid paper
6 13/16 x 8 9/16 inches (plate)
16 x 22 inches (frame)
Georgia Museum of Art, University of Georgia;
   Gift of Mr. and Mrs. James B. Anderson
GMOA 1985.11.80

Gary Arseneau

Sunday, June 24, 2012

Goya Forgeries in the University of Georgia's collection, Posthumous Impressions from Reworked and Altered Plates can never be Etchings

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