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Bury Them and Keep Quiet
Goya y Lucientes, Francisco de
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Goya y Lucientes, Francisco de

Fuendetodos, Zaragoza (Spain), 1746 - Bordeaux (France), 1828

Goya y Lucientes, Francisco de See author's file

Bury Them and Keep Quiet

1810 - 1814. Burnished wash, Etching, Burin, Drypoint on ivory paper.
Not on display

Bury Them and Keep Quiet, suggests that the worst consequence of a war is undoubtedly death. As we have seen, the representation of the victims is one the Disasters’ principal objectives. Almost from the start, Goya emphatically conveys the collective nature of the slaughter. Depicting a cadaver is a way of expressing violence, but showing a disorderly pile of dead bodies exacerbates the tragic import of such an event. The cadavers are frequently unclothed, and their classical presentation with accentuated foreshortening contrasts ideal beauty with the tragedy of death. [...] This subject’s frequency leads Goya to eliminate the scant spatial references that existed in the drawing, presenting the macabre scene on a sloped and undefined terrain. Various nuances imbue it with an extreme conceptual violence. First, the placement of the naked bodies, which had previously been stripped of their clothing in a manner depicted by Goya in Disaster 16, They Make Use of Them; second, the violent foreshortening of the bodies, which reflects both their rigor mortis and the idea that they have been tossed aside in a haphazard way, like mere objects. Third, their grimaces, which indicate how painful their final moments were; and finally, the manner in which their shoes have been abandoned in the foreground, symbolizing the violent loss of life. But Goya further augments the expressivity of this drawing by conveying the smell of rotting bodies through the postures of two figures -a man and a woman- whom he presents as witnesses to the slaughter (Text drawn from Matilla, J. M.: Enterrar y callar, in: Goya en tiempos de guerra, Madrid: Museo Nacional del Prado, 2008, 318 and 319).


Technical data

Related artworks

Bury Them and Keep Quiet
Pencil ground, Red chalk on laid paper, 1810 - 1814
Goya y Lucientes, Francisco de
Inventory number
Goya y Lucientes, Francisco de
Bury Them and Keep Quiet
1810 - 1814
Burnished wash; Etching; Burin; Drypoint
Ivory paper
Height: 163 mm; Width: 2180 mm
Desastres de la guerra [estampa], 18
Real Academia de Bellas Artes de San Fernando, Madrid; Eduardo Luis Moreda Fernández; Museo del Prado, 2000

Bibliography +

Brunet, M.G., Étude sur Francisco Goya sa vie et ses travaux, Aubry, Paris, 1865, pp. 51.

Viñaza, Cipriano Muñoz y Manzano Conde de la, Goya: su tiempo, su vida, sus obras, Tip. M.G. Hernández, Madrid, 1887, pp. 371.

Delteil, Loys, Francisco Goya, I, Chez L'Auteur, Paris, 1922.

Mayer, August L., Francisco de Goya, Labor, Barcelona, 1925, pp. 231.

Lafuente Ferrari, Enrique, Los desastres de la guerra de Goya y sus dibujos preparatorios, Instituto Amatller de Arte Hispánico, Barcelona, 1952, pp. 61.

Harris, Tomas, Goya, engravings and lithographs, II, Bruno Cassirer, Oxford, 1964, pp. 203.

Gassier, Pierre y Wilson-Bareau, Juliet, Vie et oeuvre de Francisco de Goya: l' oeuvre complet illustré: peintures, dessins, gravures, Office du Livre, Fribourg, 1970.

Sayre, Eleanor, The Changing Image. Prints by Francisco Goya, Museum of Fine Arts, Boston, 1974, pp. 153.

Derozier, C., La Guerre D'Independance Espagnole a Travers L'Estampe (1808..., II, Universidad de Lille, Lille, 1976, pp. 867.

Bozal, Valeriano, Imagen de Goya, Lumen, Barcelona, 1983, pp. 201.

Vega, J., Fatales consecuencias de la guerra. Francisco de Goya, pintor, Francisco de Goya, grabador: instantáneas, Caser y Calcografía Nacional, Madrid, 1992, pp. 27.

Vega, Jesusa, Museo del Prado: catálogo de estampas, Museo del Prado, Madrid, 1992, pp. 87.

Biblioteca NacionalEspaña, "Ydioma Universal": Goya en la Biblioteca Nacional, Biblioteca NacionalLunwerg, Madrid, 1996, pp. 209.

Cuenca M. L., Docampo J. y Vinatea P., Catálogo de las estampas de Goya en la Biblioteca Nacional, Biblioteca Nacional y Lunwerg, Madrid, 1996, pp. 141.

Matilla, José Manuel y Blas, Javier, El libro de los desastres de la guerra: Francisco de Goya, Museo Nacional del Prado; Calcografía Nacional, Madrid, 2000, pp. 40-42.

Obras adscritas al Museo Nacional del Prado en el año 2000, Boletín del Museo del Prado, XIX, 2001, pp. 200.

Nieto Alcaide, V., La guerra y lo imaginario en la pintura de Goya. En: Historias inmortales, Barcelona, 2003, pp. 319-329.

Calcografía Nacional (España), Calcografía Nacional: catálogo general, II, Calcografía Nacional, Madrid, 2004, pp. 461.

Bozal, Valeriano, Francisco Goya: vida y obra, II, T.F., Alcobendas (Madrid), 2005, pp. 117.

No se puede mirar: Goya, Desastres de la guerra, Zoran Musi..., 2007.

Wilson-Bareau [et alt], Catalogue, Goya graveur, Chaudun y Paris musées, Paris, 2008, pp. 237.

Matilla, José Manuel, Estampas españolas de la Guerra de la Independencia: propaganda, conmemoración y testimonio, Universidad de Salamanca, 2008.

Matilla J.M., Goya: en tiempos de guerra, Museo Nacional del Prado, Madrid, 2008, pp. 318-320.

Bordes J., Matilla J.M. y Balsells S, Goya, cronista de todas las guerras: los ''desastres'' y la fotografía de guerra, Centro Atlántico de Arte Moderno y Real Academia de Bellas Artes de San Fernando, Las Palmas de Gran Canaria; Madrid, 2009, pp. 116.

Hofmann, Julius, Francisco de Goya: Katalog seines graphischen Werkes, Gesellschaft für vervielfältigende Kunst, Viena, 2014, pp. 91-145.

Other inventories +

Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 2564.

Inscriptions +


Front, lower left corner

Front, upper left corner

Enterrar y callar
Front, lower central area

Update date: 22-11-2021 | Registry created on 28-04-2015

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