The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Collection <Back
Charity
Goya y Lucientes, Francisco de
Close Continuar a ficha de la obra

Goya y Lucientes, Francisco de

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

Goya y Lucientes, Francisco de See author's file

Charity

1810. Wash, Etching, Burnisher, Burin, Drypoint on ivory paper. Not on display

Disasters of War, 27, Charity. Once more, Goya eliminates any reference that could specifically identify the event being depicted in order to create an emotionally gripping scene whose main idea is once again the lack of respect for a human body. The nature of this subject may be what led Goya to intentionally present it in a way that keeps viewers from clearly identifying its protagonists. Who are the gravediggers and who are the dead? A comparison of the preparatory drawing to the engraving does not shed much light on its interpretation. The fundamental difference between them is the appearance of the two figures standing on the right. In the drawing, the one closest to the edge of the composition sports a hat that closely resembles the colback worn by mounted hunters from the Napoleonic Guard, who were most responsible for the repression under the command of Murat. This low cylindrical fur-lined hat distinguished these troops from the French infantry, which wore a higher schako of the sort that appears on the members of the firing squad in the artist’s Third of May. Goya often used this part of the uniform to distinguish the French soldiers responsible for most of the series’ most violent scenes. A serious figure wearing a sort of turban stands behind the rightmost figure, contemplating the scene without moving. Here, “charity” could be understood as a collaborative gesture between French and Spanish troops in order to bury their victims. In the engraving, however, Goya eliminates all of the hats, thus substantially changing its meaning, as now, only Spaniards are involved in the rapid burial that takes place before the figure of a serious old man who appears to close his eyes in the presence of this tragedy. (Text from Matilla, J.M.: Caridad, in: Goya en tiempos de Guerra, Madrid: Museo Nacional del Prado, 2008, pp. 322-323)

Multimedia

Technical data

Related artworks

Charity
Red chalk on ivory laid paper, 1810
Inventory number
G002357
Author
Goya y Lucientes, Francisco de
Title
Charity
Date
1810
Technique
Wash; Etching; Burnisher; Burin; Drypoint
Support
Ivory paper
Dimension
Height: 163 mm.; Width: 236 mm.
Series
Desastres de la guerra [estampa], 27
Provenance
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, libraire-éditeur, Paris, 1865, pp. 52.

Viñaza, Cipriano Muñoz y Manzano Conde de la, Goya: su tiempo, su vida, sus obras, Tip. M.G. Hernández, Madrid, 1887, pp. 376.

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. 61-154.

Harris, Tomas, Goya, engravings and lithographs, II, Bruno Cassirer, Oxford, 1964, pp. 217.

Gassier, Pierre, 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. 165.

Derozier, C., La Guerre D'Independance Espagnole a Travers L'Estampe (1808..., II, Universidad de Lille, Lille, 1976, pp. 882.

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. 90.

Blas J., Matilla J.M. y Aguilar I, El libro de los desastres de la guerra: Francisco de Goya, I, Museo Nacional del Prado y Calcografía Nacional, Madrid, 2000, pp. 142.

Vibolt Knudsen, Vibeke, Goya's Realism, Statens Museum For Kunst, Copenhague, 2000, pp. 180.

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. 462.

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

Wilson-Bareau J. [et alt.], Catalogue, Goya graveur, Chaudun y Paris musées, Paris, 2008, pp. 241.

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. 322.

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. 134.

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.

There are no temporary exhibitions related to this work

Update date: 02-05-2019 | Registry created on 28-04-2015

Other works by Goya y Lucientes, Francisco de

Print on demand

Print artworks available in our catalogue in high quality and your preferred size and finish.

Image archive

Request artworks available in our catalogue in digital format.

Up