Francisco de Goya

Carts to the cemetery

Clasificación
Carts to the cemetery
Datos Generales
Cronología
Ca. 1812 - 1815
Dimensiones
152 x 208 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca, buril y bruñidor
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Ailsa Mellon Bruce Collection
Ficha: realización/revisión
21 Dec 2010 / 24 May 2023
Inventario
225
Inscripciones

38 (in the bottom left-hand corner)

Historia

See Sad forebodings of what is to come.

The title of the print was handwritten by Goya on the first and only series known to us at the time of its production, which the painter gave to his friend Agustín Ceán Bermúdez. Thus the title was subsequently engraved on the plate without any modification from Ceán Bermúdez's copy for the first edition of The Disasters of War published by the Royal Academy of Fine Arts of San Fernando in Madrid in 1863.

A preparatory drawing is kept in the National Prado Museum.

Análisis artístico

Two men lift the body of a dead young woman onto a cart; one holds her back while the other grabs her ankles. The strength of the two male figures and the manner in which they lift the body onto the cart contrasts with the delicate anatomy of the young woman, who still appears to be full of life, which could indicate her recent death. They are preparing to place her on the heap of corpses on the cart, which, as the title of the engraving indicates, will later be taken to the cemetery. On the right-hand side of the print Goya has depicted a man with his back to the viewer bending down to pick up another corpse, which will also be placed on the cart.

The scene takes place in the street, although we cannot identify which city it is. It could be Madrid where, twice a day, corpses were collected to be taken to the cemeteries.

This engraving should be related to the two previous ones, No. 62, Beds of Death and No. 63, Collected Dead. With these three images the Aragonese painter closes the horrors he has narrated in this second part of the series devoted to the ravages caused by famine on the population to give way to Emphatic Caprices

Conservación

The plate is in the National Chalcography (cat. 315).

Exposiciones
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Francisco de Goya
    Museo d'Arte Moderna
    Lugano
    1996
    exhibition celebrated from September 22nd to November 17th.
  • Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996
    Galerie Kornfeld
    Bern
    1996
    from November 21st 1996 to January 1997
  • Francisco Goya. Capricci, follie e disastri della guerra
    San Donato Milanese
    2000
    Opere grafiche della Fondazione Antonio Mazzotta
  • Goya luces y sombras
    CaixaForum
    Barcelona
    2012
    consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • 2022
Bibliografía
  • BERUETE Y MONET, Aureliano de
    Goya, grabador
    MadridBlass S.A.
    1918
    cat. 166
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    OxfordBruno Cassirer
    1964
    cat. 184
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    cat. 1102
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 279
  • BLAS BENITO, Javier and MATILLA, José Manuel
    El Libro de los Desastres de la Guerra
    MadridMuseo del Prado
    2000
    pp.120-122
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 151
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 114-151
  • TORAL OROPESA, María and MARTÍN MEDINA, Víctor
    Museo de Bellas Artes de Badajoz y Diputación de Badajoz
    2022
    p. 84
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