No hay que dar voces. (Crying out is unnecessary.)
Francisco Jose de Goya y Lucientes, Spanish, 1746 - 1828
1810-1820
Etching and aquatint on paper
First edition, made prior to all corrections
Plate: 6 1/8 × 8 3/16 in. (15.5 × 20.8 cm)
Sheet: 9 3/4 × 12 13/16 in. (24.7 × 32.5 cm)
Hood Museum of Art, Dartmouth: Gift of Adolph Weil Jr., Class of 1935
PR.991.50.1.58
Portfolio / Series Title
Number 58 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: No hay que dar voces.; inscribed, in plate, upper left: 58; inscribed, in graphite, upper right: 58 Watermark: HGO/Palmette
Label
This group of Goya’s prints attest to the mental toll of violence, which is inseparable from the physical horrors represented here. These prints focus the viewer’s attention on the plight of women during wartime. Women appear at the center of each image. Plate 11 features French soldiers menacing civilian women, casting a baby on the ground. In Plate 49, a group flees from a fire, which highlights the fainting body of a young woman held aloft. With hunched shoulders and solemn faces, the women speak to the profound misery resulting from French brutality, as well as a degree of resignation at the ongoing war. In addition to physical attacks, the Spanish faced famine and widespread starvation resulting from the occupation. In Plate 49, a woman, back turned to the viewer, brings food to the hungry. Men beg in Plate 58, while a lone woman in white stands, seemingly helpless. Goya’s attention to women in his print series records the experiences of civilians whose histories are otherwise lost.
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
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 War, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 8-December 9, 1990.
Recording War: Images of Violence, 1500-1900, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 20-August 20, 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.100, no. 159.
Hilliard T. Goldfarb and Reva Wolf, Fatal Consequences: Callot, Goya, and the Horrors of War, Hanover, New Hampshire: Trustees of Dartmouth College, 1990.
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 177; Harris 178
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