Estragos de la guerra (Havoc of war)
Francisco Jose de Goya y Lucientes, Spanish, 1746 - 1828
1810-1820
Etching, lavis and scraping on paper
First edition, made prior to all corrections
Plate: 5 9/16 × 6 5/8 in. (14.1 × 16.8 cm)
Sheet: 9 5/8 × 12 13/16 in. (24.5 × 32.5 cm)
Hood Museum of Art, Dartmouth: Gift of Adolph Weil Jr., Class of 1935
PR.991.50.1.30
Portfolio / Series Title
Number 30 of 80 from Los Desastres de la Guerra (The Disasters of War)
Publisher
Royal Academy of Fine Arts of San Fernando, Madrid, Spain
Geography
Place Made: Spain, Europe
Period
19th century
Object Name
Research Area
Not on view
Inscriptions
Inscribed, in plate, lower center: Estragos de la guerra; signed, in plate, lower left: Goya; inscribed, in plate, upper left: 30; inscribed, in graphite, upper right: 30 Watermark: HGO/Palmette
Label
In this selection of four prints from Goya’s series, the artist evokes the many emotions of war. Plate 1 features a man with haunting eyes kneeling against a dark background. His vulnerable position and distraught expression speak to the anxiety at the onset of battle. In his subsequent images, Goya presents the desolation of ravaged bodies, the fear before enemy combatants, and the resignation of survivors. Throughout the series, Goya uses a variety of techniques to create shadows that dramatize the imagery; he favored aquatint, an artistic technique that creates tonal areas through application of powered resin to the printing plate. The grisly reality of the representations—blood dripping down one man’s face—memorializes the occupation. Goya’s captions, written by the artist, offer sometimes ironic commentary, evoking emotions of pain, resignation, and sorrow.
From the 2023 exhibition Recording War: Images of Violence 1500 – 1900, curated by Elizabeth Rice Mattison, Andrew W. Mellon Associate Curator of Academic Programming
Course History
FILM 47, From The Fall of the Wall to 9-11: Understanding the New World Disorder, Mark Williams, James Nachtwey, Spring 2013
SPAN 31, Introduction to Hispanic Studies II: 18th and 19th Centuries, Jose del Pino, Winter 2014
SPAN 31, Introduction to Hispanic Studies II: 18th and 19th Centuries, Txetxu Aguado, Winter 2014
SART 27, 28, 74, Printmaking I-Intaglio, II, III, Ariel Frieberg, Spring 2015
Anthropology 3.01, Introduction to Anthropology, Charis Ford Morrison Boke 1, Summer 2023
Studio Art 27.01/28.01/74.01, Printmaking I/II/III, Josh Dannin, Summer 2023
Facilitated Experience: Special Tour - From Goya to Photojournalism, Summer 2023
Exhibition History
Fatal Consequences: Callot, Goya, and the Horrors of Wars, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 8-December 9, 1990.
Figures and Structures: Selections from the Permanent Collection, Harrington Gallery Teaching Exhibition, Art History 2, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 2-March 10, 1996.
Fred Wilson, So Much Trouble in the World - Believe It or Not!, William B. Jaffe and Evelyn A. Jaffe Hall Galleries, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 4-December 11, 2005.
Recording War: Images of Violence, 1500-1900, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, August 23-December 9, 2023.
Publication History
Timothy Rub, Egbert Haverkamp-Begemann, Kelly Pask, "A Gift to the College: The Mr. and Mrs. Adolph Weil Jr. Collection of Master Prints", Hanover, New Hampshire: Trustees of Dartmouth College, 1998, listed, p.98, no. 131.
Hilliard T. Goldfarb and Reva Wolf, Fatal Consequences: Callot, Goya, and the Horrors of War, Hanover, New Hampshire: Trustees of Dartmouth College, 1990.
Barbara Thompson, Fred Wilson, So Much Trouble in the World - Believe It or Not!, Hanover, New Hampshire: Trustees of Dartmouth College, 2005.
John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 109, ill. plate no. 40
Provenance
Adolph Weil, Jr
Catalogue Raisonne
Delteil 149; Harris 150
This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.
We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu