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Cartloads to the cemetery
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

Cartloads to the cemetery

1812 - 1814. Red chalk on laid paper.
Not on display

A preparatory drawing for Disasters of War, 64, Cartloads to the cemetery. The term, “cartloads” refers not only to how the bodies were transported, but also to the quantity. Goya dedicated various prints and preparatory drawings to this subject, including Disaster 56, To the cemetery and Disaster 63, Harvest of the Dead. His decision not to order them sequentially conveys the idea of reiteration, that is, the continuous presence of specific events throughout the war. The comparison of the preparatory drawing with the finished print reveals how, without substantially altering the composition, the artist is able to focus on details that reinforce its narrative capacity. The most important change affects the setting and the figures arranges in the middle ground. Goya sets the scene in an urban space clearly defined by architectural elements, which allows him to convey the specificity of the matter he is depicting. In the drawing, the building is only sketched in with a few strokes of red-chalk to represent the stone blocks of a wall. In the print, however, a more intense group of parallel lines defines the entryway to what is probably a church. The main group of figures—the body of a young woman being lifted onto a cart by two men—relates this image to Disasters 52, They do not arrive in time. It is a romantic way of secularizing a religious idea also present in other prints from the Disasters, including No. 1, Sad presentiments of things to come: the placement of the figure of the woman being lifted onto the cart recalls the lassitude and beauty of Christ’s lifeless body. (Text from Matilla, J.M.: Carretadas al cementerio, in: Goya en tiempos de guerra, Madrid, Museo Nacional del Prado, 2008, pp. 330 and 331)


Technical data

Related artworks

Cartloads to the cemetery
Etching, Aquatint, Burnisher, Burin on wove paper, 1812 - 1814
Goya y Lucientes, Francisco de
Inventory number
Goya y Lucientes, Francisco de
Cartloads to the cemetery
1812 - 1814
Red chalk
Laid paper
Height: 168 mm; Width: 215 mm
Desastres de la guerra [dibujo]
Javier Goya, Madrid, 1828; Mariano Goya, Madrid, 1854; Valentín Carderera, Madrid, c. 1861; Mariano Carderera, Madrid, 1880; Museo del Prado, 1886.

Bibliography +

D'Achiardi, Pierre, Les Dessins de D. Francisco de Goya y Lucientes au Musée du Prado à Madrid, II, D. Anderson, Roma, 1908.

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

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

Sánchez Cantón, Francisco Javier, Sala de los dibujos de Goya, II, Museo del Prado, Madrid, 1928, pp. 26, n.156.

Lafuente Ferrari, Enrique, Los desastres de la guerra de Goya y sus dibujos preparatorios, Instituto Amatller de Arte Hispánico, Barcelona, 1952, pp. 179.

Sánchez Cantón, Francisco Javier, Los dibujos de Goya reproducidos a su tamaño y en su color. Estudios para Los Caprichos, Los Desastres de la guerra, La Tauromaquia y dibujos no grabados, I, Museo del Prado, Madrid, 1954, pp. 125.

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, pp. nº 1103.

Gassier, Pierre, Dibujos de Goya. Estudios para Grabados y Pinturas, II, Noguer, Barcelona, 1975, pp. 290.

Derozier, C., La Guerre D'Independance Espagnole a Travers L'Estampe (1808..., II, Universidad de Lille, Lille, 1976, pp. 933.

Tonnesson, Kare, Francisco Goya, Nasjonalgalleriet, Oslo, 1996.

Blas, Javier, El libro de los desastres de la guerra Francisco de Goya. Vol. I, Museo del Prado: R.A.B.A.S.F., Madrid, 2000.

Vibolt Knudsen, Vibeke, Goya's Realism, Statens Museum For Kunst, Copenhague, 2000, pp. 182.

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

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

Goya en tiempos de guerra, Museo Nacional del Prado, Madrid, 2008, pp. 330.

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. 208.

Matilla Rodríguez, José Manuel, Ligereza y atrevimiento. Dibujos de Goya, Fundación Botín, Santander, 2017, pp. 44 n.12; 162-163 n. 12.

Matilla, J.M. Mena M.B., Goya: dibujos. Solo la voluntad me sobra, Museo Nacional del Prado, Madrid, 2019, pp. 203 nº125.

Filigree +

Motive: Grifo y monograma "JC" (mitad inferior)

69 x 53 mm
26 mm.
Centro del margen inferior
Grifo y monograma "JC"

Other inventories +

Catálogo Gassier, 1975. Núm. II 213.

Colección Dibujos Goya (Numeración Sánchez Catón). Núm. 156.

Catálogo Goya, Pierre Gassier y Juliet Wilson. Núm. 1103.

Inscriptions +

Inscribed. Front, upper left area

Inscribed. Front, lower left corner

Exhibitions +

Goya´s Graphic Imagination
Nueva York NY
08.02.2021 - 02.05.2021

Goya. Drawings. "Only my Strength of Will Remains"
20.11.2019 - 16.02.2020

Solo la voluntad me sobra. Dibujos de Francisco de Goya
19.11.2019 - 16.02.2020

Ligereza y atrevimiento. Dibujos de Goya
22.06.2017 - 30.09.2017

Goya in Times of War
15.04.2008 - 13.07.2008

Goya. Images and Reality
11.02.2000 - 07.05.2000

Francisco de Goya
10.02.1996 - 14.04.1996

Displayed objects +


Update date: 07-07-2022 | Registry created on 28-04-2015

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