- Cronología
- Ca. 1812 - 1815
- Dimensiones
- 168 x 212 mm
- Técnica y soporte
- Sanguina sobre papel verjurado gris azulado
- Reconocimiento de la autoría de Goya
- Undisputed work
- Ficha: realización/revisión
- 15 Dec 2010 / 25 May 2023
- Inventario
- 225
54 (on the lower left-hand corner).
See Sad presentiments of what must come to pass.
This drawing, along with the set of preparatory drawing for the rest of the prints in this series, formed part of the Carderera Collection and was subsequently acquired by the Prado Museum where it is currently housed.
The main difference between the print and this preparatory drawing lies in Goya's use of space. The drawing features a building that ends in the centre of the composition: next to it there are two silhouettes that seem to be situated further back, behind the rest of the figures in the scene, hence their dark, less precise execution. The drawing's composition has a more vertical line than the print, proportioned by the building that continues into the upper section of the paper. In the print, this structure is cut off before this point. Likewise, the lighting in the print differs from that used in the drawing. The right-hand side of the drawing is completely lit up, while this section of the print is rendered in darkness.
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Goya's RealismStatens Museum for KunstCopenhagen2000from February 11th to May 7th 2000
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Goya. Los desastres de la guerra. II. El horror de la sinrazónMuseo Nacional del PradoMadrid2001
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Goya en tiempos de guerraMuseo Nacional del PradoMadrid2008consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
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MadridMuseo del Prado1954n. 110
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970cat. 1073
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Dibujos de Goya, 2 volsBarcelonaNoguer1975cat. 198