- 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
38 (in the bottom left-hand corner)
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.
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
The plate is in the National Chalcography (cat. 315).
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Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)Hamburger KunsthalleHamburg1980cat. 93
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Francisco de GoyaMuseo d'Arte ModernaLugano1996exhibition celebrated from September 22nd to November 17th.cat. 64
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Francisco Goya. Sein leben im spiegel der graphik. Fuendetodos 1746-1828 Bordeaux. 1746-1996Galerie KornfeldBern1996from November 21st 1996 to January 1997cat. 148
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Francisco Goya. Capricci, follie e disastri della guerraSan Donato Milanese2000Opere grafiche della Fondazione Antonio Mazzottacat. 144
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Goya luces y sombrasCaixaForumBarcelona2012consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 2012cat. 53
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Goya et la modernitéPinacothèque de ParisParís2013from October 11st 2013 to March 16th 2014cat. 103
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2022
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Goya, grabadorMadridBlass S.A.1918cat. 166
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Goya engravings and lithographs, vol. I y II.OxfordBruno Cassirer1964cat. 184
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970cat. 1102
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996cat. 279
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El Libro de los Desastres de la GuerraMadridMuseo del Prado2000pp.120-122
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ParísPinacoteca de París2013p. 151
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 114-151
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Museo de Bellas Artes de Badajoz y Diputación de Badajoz2022p. 84