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Folly of fear
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

Folly of fear

1815 - 1819. Etching, Aquatint, Burnisher, Drypoint on wove paper. Not on display

Disparates, 2, Folly of fear, belongs to a series that Goya began in 1815 as a faithful reflection of his historical and personal context when, in the aftermath of the Peninsular War, he witnessed the collapse of part of the progressive world with which he somehow felt personally identified. He probably worked on this series until 1819, when political changes associated with the triumph of General Rafael Riego led to the proclamation of the Constitution of 1812 and a hopeful mood in which the oppressive atmosphere of the Disparates was out of place. Unfinished and incomprehensible, these works broke with what was then the official propagandistic version of events depicted by other engravers at a time of personal adulation of Ferdinand VII. This series reveals an artist who gives free rein to his creativity. The subjects that seem to bring meaning and unity to this series convey universal criticism of the essence of the human being, including fears, violence, beliefs, vices and errors. Also closely linked to the Disasters and to Goya’s painting, The 2 of May, are the soldier wielding a saber and the figure whose hands are joined in a plea for clemency. Moreover, the accumulation of figures along the entire horizon produces a greater feeling of crowding. Phantasms—beings with a false appearance that produce fear or devotion—had already appeared in previous works by Goya, including some prints from the Caprichos that criticize superstitions and the trickery of false religious beliefs. The present work, whose title was suggested by Beruete, has been the object of various interpretations, from those that view it in the context of the Peninsular War to those that see it as a parody of Ferdinand VII frightening liberal soldiers. Whatever Goya’s starting point may have been, the result is a disturbing image in which the natural order of things has been undermined. Thus, rather than displaying discipline and valor, these soldiers lie on top of each other on the ground, terrified by a puppet-like figure that is not what it appears to be (Text from Matilla, J.M.: Disparate de miedo, in: Goya en tiempos de Guerra, Madrid, Museo Nacional del Prado, 2008).

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Folly of fear
Wash on laid paper, 1815 - 1819
Folly of fear
Etching on wove paper, 1815 - 1819
Inventory number
G002170
Author
Goya y Lucientes, Francisco de
Title
Folly of fear
Date
1815 - 1819
Technique
Etching; Aquatint; Burnisher; Drypoint
Support
Wove paper
Dimension
Height: 251 mm.; Width: 366 mm.; Height of the plate mark: 242 mm.; Width of the plate mark: 356 mm.
Series
Disparates [estampa], 2

Bibliography +

Lefort, Paul, Essai d'un catalogue raisonné de l'oeuvre gravé et litographié de Francisco Goya, Gazette des Beaux-Arts, X, 1868, pp. 165-180.

Lefort, Paul, Francisco Goya. Étude biographique et critique suivie de l'essai d'un catalogue raisonné de son oeuvre gravé et lithographié, Librairie Renouard, París:, 1877, pp. nº 125.

Beruete y Moret, Aureliano de, Goya grabador, III, Blass y Cía, Madrid:, 1918, pp. 107, nº 186, il. 47-2.

Beruete y Moret, Aureliano de, Goya grabador, III, Blass y Cía, Madrid:, 1918, pp. 138.

Loga, Valerian von, Francisco de Goya, G. Grotesche, Berlin, 1921, pp. nº 698.

Young, Blamire, The Proverbs of Goya, Jonathan Cape, Londres:, 1923, pp. 86-93.

Mayer, August L., Francisco de Goya, Labor, Barcelona, 1925, pp. 277, nº V (698)-2, il. 388.

Wight, F.S., The Revulsions of Goya. Subconscious Communications in the Etchings, The Journal of Aesthetics & Art Criticism, V, 1946, pp. 22.

Camón Aznar, José, Los disparates de Goya y sus dibujos preparatorios, Instituto Amatller de Arte Hispánico, Barcelona, 1951, pp. 76-79, [167-169], nº 13.

Malraux, André, Saturn: An Essay on Goya, Phaidon Press, Londres, 1957, pp. 145.

Delteil, Loys, Goya. Facsimil 1922, Collectors editions; Da Capo Press, Nueva York, 1969, pp. nº 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, pp. nº 1573.

Sayre, Eleanor A., The Changing Image: Prints by Francisco Goya, Museum of Fine Arts, Boston:, 1974, pp. 252-255, nº 203-206.

Gassier, Pierre, Vida y obra de Francisco de Goya: reproducción de su obra completa: pinturas, dibujos y grabados, Juventud, Barcelona, 1974, pp. nº 1573.

Gassier, Pierre, Dibujos de Goya. Estudios para grabados y pinturas, II, Noguer, Barcelona, 1975, pp. 434-435, nº 291.

Holo, Selma Reuben, Goya. Los Disparates, Museum of Art, Washington State University Press, Washington:, 1976, pp. 9.

Hofmann, W., ''Disparate de miedo'', en: Goya. Das Zeitalter der Revolution 1789-1830, Prestel Verlag; Hamburguer Kunsthalle, Munich; Hamburgo, 1980, pp. 197, nº 147.

Camón Aznar, José, Francisco de Goya, IV, Caja de Ahorros de Zaragoza, Aragón y Rioja, Zaragoza, 1982, pp. 88-89.

Harris, Tomas, Goya. Engravings and lithographs, II, Alan Wofsy Fine Arts, San Francisco:, 1983, pp. 374-375, nº 249.

Goya: nuevas visiones : homenaje a Enrique Lafuente Ferrari, Amigos del Museo del Prado, Madrid:, 1987, pp. 131, il. 14.

Glendinning, Nigel, ''La problemática historia de los Disparates y su interpretación carnavalesca'', en: Francisco de Goya grabador. Instantáneas. Disparates, III, Caser, Madrid:, 1992, pp. 19-32, [27-28].

Vega, Jesusa, Museo del Prado: catálogo de estampas, Museo del Prado, Madrid, 1992, pp. 108-109, nº 436.

Pérez Sánchez, Alfonso E., ''Disparates'', en: Goya grabador, Fundación Juan March, Madrid:, 1994, pp. 198-219, [202].

Pérez Sánchez, Alfonso E., ''Disparates'', en: Goya grabador, Fundación Juan March, Madrid:, 1994, pp. 219.

Cuenca, M. L. y otros, "Ydioma Universal": Goya en la Biblioteca Nacional, Biblioteca Nacional, Lunwerg, Madrid, 1996, pp. 297-298, il 23 (p. 30-31).

Biblioteca Nacional de España, Catálogo de las estampas de Goya en la Biblioteca Nacional, Biblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg, Madrid, 1996, pp. 235, nº 375.

Carrete, J., Matilla, J.M., Aullón de Haro, P., Bozal, V., Glendinning, N. y Vega, J., Disparates, Francisco Goya. Tres visiones, Calcografía Nacional, Real Academia de Bellas Artes de San Fernando, Madrid:, 1996, pp. 105, 109, [118-119, 160-161], nº 2 y 22.

Glendinning, Nigel, 'Motivos carnavalescos en la obra de Goya desde los cartones para tapices a los Disparates'', en: Disparates, Francisco Goya. Tres visiones, Calcografía Nacional, Real Academia de Bellas Artes de San Fernando, Madrid:, 1996, pp. 28-29.

Fundación Lázaro Galdiano, Goya en la Fundación Lázaro Galdiano, Fundación Lázaro Galdiano, Madrid:, 1999, pp. 202, 204-205, nº 46.

Goya, Electa, Roma:, 2000, pp. 114-115, nº 34.

Calcografía Nacional, Calcografía Nacional. Catálogo general, II, Real Academia de San Fernando, Madrid, 2004, pp. 483, nº 3974.

Águeda Villar, Mercedes, ''Los Disparates en la Colección Lázaro Galdiano'', en: Goya. Imaginación romántica y disparates en la Fundación Lázaro Galdiano, Fundación Caja Navarra, Pamplona:, 2005, pp. 22-31, [25].

Aldea, E., Disparate de miedo. Una crítica política bajo un velo de hermetismo, Romance Quarterly, 54, 2007, pp. 17-22.

André-Deconchat, S., Assante di Panzillo, M. y Wilson-Bareau, Juliet, ''Catalogue'', en: Goya graveur, Nicolas Chaudun y Paris musées, París, 2008, pp. 281, nº 179-180.

Matilla, José Manuel, ''Disparate de miedo'', en: Goya: en tiempos de guerra, Museo Nacional del Prado, Madrid:, 2008, pp. 474-475, nº 175.

Földényi, F. László, Goya y el abismo del alma, Galaxia Gutenberg, Círculo de Lectores, Barcelona:, 2008, pp. 119, il. 35.

Rodríguez Torres, María Teresa (1943-), Goya. Heraldos de una colecta gráfica, Villaverde, Madrid:, 2009, pp. 116-118.

Vega, Jesusa, Ciencia, arte e ilusión en la España ilustrada, Consejo Superior de Investigaciones Científicas y Ediciones Polifemo, Madrid:, 2010, pp. 478-480, il. 295.

Other inventories +

Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 2298.

Inscriptions +

2
Inscribed. Front, upper central area

Proverbio 2
Inscribed. Back, lower left corner

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Update date: 18-08-2021 | Registry created on 28-04-2015

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