Esto es peor. (This is worse.)

Inscriptions

Inscribed, in plate, lower center: Esto es peor.; inscribed, in plate, upper left: 37; inscribed, in plate, lower left (faintly): 52; inscribed, in graphite, upper right: 37 Watermark: HGO/Palmette

Label

The explicit violence of Goya’s series of prints makes them both memorable and difficult to examine. The first half of the series chronicles the various tortures and punishments enacted on both sides of the conflict, as evidenced in the selection presented here. Bodies are disfigured, displayed, and dumped throughout the prints. In Plate 32, French soldiers tie a rope around a man’s neck, attaching him to a tree. They pull on his body as he cries out in extreme agony communicated by his open scream. Meanwhile, the soldiers remain expressionless at his plight. As in many of his works, Goya’s simple and sometimes sardonic captions suggest that such horror is beyond verbal expression. He asks only: Why?

From the 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 65.12, Reading Spain with Goya, Sara Munoz, Fall 2022

Spanish 31.01, Introduction to Hispanic Literature II, Sebastian Diaz, Winter 2023

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

Spanish 31.01, Introduction to Hispanic Literature II, Sebastian Diaz, Winter 2024

Spanish 31.02, Introduction to Hispanic Literature II, Sebastian Diaz, Winter 2024

Facilitated Experience: Special Tour - From Goya to Photojournalism, Summer 2023

Spanish 31.01, Introduction to Spanish Literature II, Sebastian Diaz, Summer 2024

Spanish 31.01, Introduction to Spanish Literature II, Sebastian Diaz, Summer 2024

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.

Forms and Messages: Selections from the Hood Museum of Art Collection, Harrington Gallery Teaching Exhibition, Art History 2, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 19-March 10, 2002.

Recording War: Images of Violence, 1500-1900, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 20-August 20, 2023.

Representations of the Body in Space from the Renaissance to the Present: Selections from the Permanent Collection, Harrington Gallery Teaching Exhibition, Art History 2, Hood Museum of Art, Dartmouth College, Hanover, New Hamsphire, January 3-March 15, 1998.

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. 138.

Hilliard T. Goldfarb and Reva Wolf, Fatal Consequences: Callot, Goya, and the Horrors of War, Hanover, New Hampshire: Trustees of Dartmouth College, 1990, p. 70, ill. XVIII.

Provenance

Date unknown, in the collection of Felix Somary (1881-1956), Vienna and Zurich; sold Sotheby's, New York, May 3, 1978, lot 2; purchased by Adolph Weil, Jr., Montgomery, Alabama; 1991 given to Dartmouth College by Adolph Weil, Jr., Class of 1935.

Catalogue Raisonne

Delteil 156; Harris 157

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