Napoleón pactó con el rey Carlos IV y Manuel Godoy el paso por España camino de Portugal, lo cual terminó en la invasión de los ejércitos franceses. The first 47 focus on incidents from the war and show the consequences of the conflict on individual soldiers and civilians. Civilians, including women, fight against soldiers with spears and rocks. They were not published until 1863, 35 years after his death. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault,[80] best known for the politically charged Raft of the Medusa (1818–19). 18 de diciembre de 2000 al 11 de marzo de 2001 II. Stoichita, Victor and Coderch, Anna Maria. The final step in the printmaking process was to ink a plate and wipe away the excess, resulting in ink remaining in the etched lines. [51] While it is unclear how much of the conflict Goya witnessed, it is generally accepted that he observed first-hand many of the events recorded in the first two groups. El Museo Dieselkraftwerk de Cottbus (este de Alemania) muestra a partir de mañana la serie de grabados de Goya Los desastres de la guerra, aguafuertes del siglo XIX … [60] The man is naked; a daring factor for Spanish art in the 19th century, during the time of the Spanish Inquisition. 4. Plate 5: Y son fieras (And they are fierce or And they fight like wild beasts). [8], Napoleon I of France declared himself First Consul of the French Republic on 18 February 1799, and was crowned Emperor in 1804. This series went on to inspire other artists like Pablo Picasso and the novel “For Whom the Bell Tolls” by Ernest Hemingway. [34] This group of plates was probably completed by early 1814. [36][37] Hughes refers to the group as the "disasters of peace". See also the listings of Harris catalogue numbers for all the prints on 100–106. Throughout the War of Independence, Goya retained his position as court painter to the Spanish Crown, though he remained neutral during the conflict. None of this fits with historical information we have." [69] In The Disasters of War's first two groups of prints, Goya largely departs from the imaginative, synthetic approach of Caprichos to realistically depict life-and-death scenes of war. Connell notes the innate sexuality of the image in plate 7—Agustina de Aragón's igniting a long cannon. The name by which the series is known today is not Goya's own. Starvation killed 20,000 people in the city that year. He visited many battle sites around Madrid to witness the Spanish resistance. The conflict was the bloodie… Goya gave the copy of the full album, now in the British Museum, to his friend Juan Agustín Ceán Bermúdez. Instead of heroic depictions of battles, Goya sought to convey the tragic results of violent conflict through his harsh, realistic etchings. One statue is recognisable as the "Virgin of Solitude". Seduced by the French offer, Godoy accepted, failing to detect the true motivations of either Napoleon or Ferdinand, who both intended to use the invasion as a ploy, to seize power in Spain.[9]. Goya’s War presents the complete set of 80 etchings published as Los Desastres de la Guerra (The Disasters of War) in 1863. Los desastres de la guerra (A2/B1) publié le 27/10/2011 - mis à jour le 23/04/2019 Séquence pédagogique de niveau A2.B1. Plate 10: Tampoco (Nor do these). He then submerged the plate into an acid bath, causing the acid to bite at the exposed metal. [26], Unlike most earlier Spanish art, Goya's rejects the ideals of heroic dignity. Acid is applied to the plate and eats away at the metal around the resin. de J. Aragon. Register for our weekly live online auction today! With these works, he breaks from a number of painterly traditions. We returned home and the next morning my master showed me his first print of, In a BBC television documentary, Glendinning said: "Trueba is clearly romanticising the artist, making the artist fearless and heroic, I mean not to just observe through the spy glass these terrible things that are happening, but actually going to see them ... None of this corresponds at all to the reality of the shootings. He had supported the initial aims of the French Revolution, and hoped its ideals would help liberate Spain from feudalism to become a secular, democratic political system. The plates express critiques of post-war politics as well as skepticism toward religious idolatry. Moteur de recherche. Some modern experts point out it was also raining, and so the idea that Goya is going out at midnight, he's not going to see anything. Shaw, Philip. Although peace was welcomed, it produced a political environment that was in ways more repressive than before. La represión en Bilbao (Julio de 1936- junio de , Dykinson, Madrid, p. Plate 65: Qué alboroto es este? The Disasters of War is the second of Goya's four major print series, which constitute almost all of his most important work in the medium. A monstrous winged devil sits upon a rock and writes a book, perhaps a book of fate, or a book of evil. The year is 1808, and French Emperor Napoleon Bonaparte has seized control of Spain. Plate 15: Y no hay remedio (And it cannot be helped). With Dead Men!) […], for breaking news, artist updates, and special sale offers. [7] The serial nature in which the plates unfold has led some to see the images as similar in nature to photography. Con razón o sin ella. If you would like more information on “The Disasters of War” or collecting the art of Francisco Goya, contact our gallery consultants at (800) 521-9654 ext. [33] Hughes believes plate 50, Madre infeliz! [56][a 9] Some art historians suggest that he did not publish because he was sceptical about the use of images for political motives, and instead saw them as a personal meditation and release. “Algun Partido Saca” (He Gets Something Out of It) (c. 1810-1820), Francisco Goya. Because we know the shootings took place at four or five o'clock in the morning. However, Goya’s personal views of the war and its aftermath soon became readily apparent. asociación histórico cultural de recreación historica Épocas Napoleónica . Instead of the "luminosity and delicacy" of these, the later editions "provide a dulled and distorted reflection of the artist's intentions", according to Juliet Wilson Bareau. Publié dans Pistes pédagogiques, Pistes pour le collège, Ressources collège. Licht speculates, "These plates obviously had to be created by the artist without any further thought about their ultimate purpose. / Publicala la R! At lower right, in plate: Lit. Atrocities, starvation and human degradation described as the "prodigious flowering of rage". de 1863. This is the title of the album given to, Crawley, Charles William. / MADRID / 1863. [11] Even when their intentions became clear the following February, the occupying forces faced little resistance besides isolated actions in disconnected areas. [47] Its subsequent shortening to Los Desastres de la Guerra was presumably an allusion to Jacques Callot's series Les misères de la Guerre. 443–444. Tauromachia was not politically sensitive, and was published at the end of 1816 in an edition of 320—for sale individually or in sets—without incident. This 'graphic' kind of clarity can be most sharp when it is most jagged. The final plates are testament to what he described as "el desmembramiento d'España"—the dismemberment of Spain. Robinson, Maisah. Hughes believed that in the end there is only the violated emptiness of acceptance of our fallen nature: like the painting of Goya's dog, "whose master is as absent from him as God is from Goya. Wilson-Bareau, 49–59, discusses the sequences of subjects and dates of creation in detail. In the preparatory drawing the cleric was a Pope. [15], Several of Goya's friends, including the poets Juan Meléndez Valdés and Leandro Fernández de Moratín, were overt afrancesados: the supporters (or collaborators, in the view of many) of Joseph Bonaparte. [7], Plates 1 to 47 consist mainly of realistic depictions of the horrors of the war fought against the French. [29] Although it is agreed that Goya could not have witnessed this incident, Robert Hughes believes it may have been his visit to Zaragoza in the lull between the first and second phases of the siege that inspired him to produce the series.[30]. The original titles or captions were etched onto the plates, even with Goya's spelling mistakes. “Ya no hay tiempo” (There isn’t time now) (1810-1820), Francisco Goya. Goya testigo de los desastres de la guerra: un llamado al sentimiento de humanidad. Cambridge: Cambridge University Press, 1965. [41], The published edition of The Disasters of War ends as it begins; with the portrayal of a single, agonized figure. When viewing the plates in order, it appears that Goya initially sympathized with his fellow Spaniards, but as the series progresses, it becomes harder to distinguish the Spanish victims from the French. [74], The plates are set spaces without fixed boundaries; the mayhem extends outside the frames of the picture plane in all directions. For example, plate 1 was among the last to be completed, after the end of the war.[20]. Los Desastres de la Guerra - Asociación Histórico Cultural, Móstoles, Madrid, Spain. [40], A number of plates in this group reveal a scepticism towards idolatry of religious images. – Jon Kidd Photography, https://www.parkwestgallery.com/francisco-goya-disasters-of-war/, 29469 Northwestern Hwy, Southfield, MI 48034. Thématique / Problématique : El arte en la guerra civil española. The final 17 reflect the bitter disappointment of liberals when the restored Bourbon monarchy, encouraged by the Catholic hierarchy, rejected the Spanish Constitution of 1812 and opposed both state and religious reform. The middle series (plates 48 to 64) record the effects of the famine that hit Madrid in 1811–12, before the city was liberated from the French. [80], The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. A final batch—including plate 1, several in the middle of the series, and the last 17 plates—are likely to have been produced after the end of the war, when materials were more abundant. The works were widely acclaimed and purchased that year by the Tate gallery. [85], 80 prints in the first published edition (1863), for which the last two plates were not available. « Galicia íntimamente ». In Goya's image, the statue is not carried vertically in processional triumph, rather it lies flat and undignified on the backs of the two almost crouched men. Plate 52: No llegan a tiempo (They do not arrive in time). Francisco de Goya y Lucientes (1746-1828) fue un artista español, hijo de un padre artesano, que de oficio hacía marcos, y una madre hidalga, el grado más bajo de la nobleza. By March, the king was forced to agree, but by September 1823, after an unstable period, a French invasion supported by an alliance of the major powers had removed the constitutional government. "Abjection Sustained: Goya, the Chapman Brothers and the 'Disasters of War'". H.164. One plate is known to have been etched in 1816, but little else is established about the chronology of the works, or Goya's plans for the set. They decided that Napoleon's brother, Joseph Bonaparte, should be king. Goya next employed the drypoint technique. However, on 11 May 1814, Fernando VII declared that the war would be forgotten and nullified the constitution, making publication impossible (Sayre, 128–129). [81], In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. His handwritten title on an album of proofs given to a friend reads: Fatal consequences of Spain's bloody war with Bonaparte, and other emphatic caprices (Spanish: Fatales consequencias de la sangrienta guerra en España con Buonaparte, Y otros caprichos enfáticos). The series was finally printed by the Royal Academy of Fine Arts of San Fernando, where Goya had served as director. There were two conflicts being fought in Spain: the resistance against the French threat, and a domestic struggle between the ideals of liberal modernisation and the pre-political incumbent ruling class. I obeyed him and where do you think we went?—To that hill where the bodies of those poor people still lay .... My master opened his portfolio, put it on his lap and waited for the moon to come out from behind the large cloud that was hiding it .... At last the moon shone so brightly that it seemed like daylight. He scratched onto the plate directly to create more textured, uneven lines in his compositions. (This is the worst!). "War and peace in an age of upheaval: 1793–1830". (c.1810-1820), Francisco Goya. As with many other Goya prints, they are sometimes referred to as aquatints, but more often as etchings. In many instances, the satirical and often sardonic ambiguity and play on Spanish proverbs found in Goya's carefully worded original titles is lost. In this, he is relying on visual clues derived from his inner life, rather than anything that could be recognised from real events or settings. Quelques pistes de travail. [a 4] Completed between 1813 and 1820 and spanning Ferdinand VII's fall and return to power, they consist of allegorical scenes that critique post-war Spanish politics, including the Inquisition and the then-common judicial practice of torture. Plate 60: No hay quien los socorra (There is no one to help them). Con muertos! I disastri della guerra (in spagnolo Los desastres de la guerra) è il titolo di una serie di 82 incisioni, opera di Francisco Goya dal 1810 al 1820; le opere raffigurano vari episodi di barbarie (uccisioni, massacri, stupri) ambientati durante il periodo della guerra d'indipendenza spagnola.. It is based in part on the Hellenistic fragment of a male nude, the Belvedere Torso by the Athenian "Apollonios son of Nestor". [46] Goya's title for the series in the Ceán album, was Fatal consequences of the bloody war in Spain with Bonaparte. Fueron precisamente los sucesos acontecidos durante la Guerra de la Independencia (1808-1814) los que dieron lugar a que Goya efectuara una reflexión enormemente crítica e innovadora sobre la guerra, sobre sus causas, brutales manifestaciones y consecuencias. Register for our weekly live online auction today! Plate 78: Se defiende bien (He defends himself well). In his India ink wash drawing We cannot look at this (1814–24), he examined the idea of a humiliated inverted body with pathos and tragedy, as he did to comical effect in The Straw Mannequin (1791–92). Lo único que aparece en Goya es una serie de víctimas, hombres y mujeres sin atributos de representación, que sufren, padecen y mueren en una gradación de horrores. [21], The group begins with Tristes presentimientos de lo que ha de acontecer (Gloomy presentiments of what must come to pass), in which a man kneels in the darkness with outstretched arms. Because Spain controlled access to the Mediterranean, it was politically and strategically important to the French. He wrote, "In art there is no need for colour. [61] Art critic Robert Hughes remarked that the figures in this image "remind us that, if only they had been marble and the work of their destruction had been done by time rather than sabres, neo-classicists like Menges would have been in aesthetic raptures over them. Many of the later plates contain fantastical motifs which can be seen as a return to the imagery of the Caprichos. He installs his brother, Joseph Bonaparte, as the country’s new ruler. However, the Spaniards refuse to accept the reign of the Bonapartes, and on May 2, 1808, the Spanish War of Independence begins. (Licht, 128). Listen to music by Los Desastres de la Guerra on Apple Music. The final 17 show the demoralization of the Spanish citizens, having realized they fought to reinstate a monarchy that refuses to change. La Comunidad llevará a cabo estas acciones en los países severamente dañados como consecuencia de períodos de guerra, de problemas civiles o de desastres naturales; se [...] concederá prioridad a los menos desarrollados. Los desastres de la II Guerra Mundial. As a result, small channels are created that will hold ink depending on how long they were exposed to the acid—the longer the exposure, the darker the ink appears on the print. de Trueba claims to have spoken to Isidro in 1836, when the gardener recalled accompanying Goya to the hill of Principe Pio to sketch the victims of the executions of 3 May 1808. "[7] The series follows a wider European tradition of war art and the examination of the effect of military conflict on civilian life—probably mostly known to Goya via prints. (What courage! Facebook is showing information to help you better understand the purpose of a Page. Hughes believed Goya's decision to render the images through etchings, which by definition are absent of colour, indicates feelings of utter hopelessness. Plate 46: Esto es malo (This is bad). 326 likes. Los desastres de la guerra (Militkatastrofoj) estas serio de 82 gravuraĵoj de la hispana pentristo Francisco de Goya, farita inter la jaroj 1810 kaj 1815.La hororo de milito estas montrita speciale kruda kaj penetra en tiu serio. [17], Art historians broadly agree that The Disasters of War is divided into three thematic groupings—war, famine, and political and cultural allegories. Plate 64: Carretadas al cementerio (Cartloads for the cemetery). Se calcula que diez millones de alemanes murieron en la guerra, de ellos más de un millón y medio civiles a causa -en buena medida- de los … ), which depicts Agustina de Aragón (1786–1857), the heroine of Zaragoza, who brought food to the cannoneers at the city defensive walls during the siege in which 54,000[28] Spaniards died. Este lienzo como coronación de la icónica serie de 82 grabados “Los desastres de la guerra” realizada entre 1810 y 1815 sobre el mismo episodio histórico. 3. Resumen; La guerra; Los desastres; Guerra vs Desastre; Conclusiones y Propuestas finales; Bibliografía; Resumen: Generalmente dentro de la clasificación doctrinaria de los diversos tipos de desastres se tiende a presentar una dicotomía encabezada por los desastres de origen natural y los de origen antropico y dentro de ellos se incluye al concepto de la guerra, este … [25] Others are based on drawings Goya had completed in his Sketchbook-journal, in studies where he examined the theme of the grotesque body in relation to the iconography of the tortured or martyred one. [29] The art historian Lennard Davis suggests that Goya was fascinated with the "erotics of dismemberment",[78] while Hughes mentions plate 10 in Los disparates, which shows a woman carried in the grip of a horse's mouth. LOS DESASTRES DE LA GUERRA de Goya Desastre 1: Tristes presentimientos de lo que ha de acontecer Esta estampa da inicio a la serie. [a 12], Detailing and protesting the ugliness of life is a common theme throughout the history of Spanish art, from the dwarves of Diego Velázquez to Pablo Picasso's Guernica (1937). Napoleon took advantage of Charles's weak standing by suggesting the two nations conquer Portugal—the spoils to be divided equally between France, Spain and the Spanish Prime Minister, Manuel de Godoy, who would take the title "Prince of the Algarve". tarde, escenas de brujería y supersticiones. “Que Valor!” (What Courage!) Hughes (2004), 181. “Grande Hazana! Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel. Academia de Nobles Artes de San Fernando. Con muertos!. La 1ª ed. It is always a privilege to discuss art with him! Wilson-Bareau, 59. The following plates describe combat with the French, who—according to art critic Vivien Raynor—are depicted "rather like Cossacks, bayoneting civilians", while Spanish civilians are shown "poleaxing the French. "[1] Plates 31 to 39 focus on atrocities and were produced on the same batch of plates as the famine group. A Closer Look at Francisco Goya’s ‘Disasters of War’ (Los Desastres de la Guerra), https://www.parkwestgallery.com/wp-content/uploads/2018/02/pwg_site_logo_trimmed.png, https://www.parkwestgallery.com/wp-content/uploads/2019/01/918763_gatesca-pantomima-feline-pantomime_goya-jpg.jpg, Take a Peek Inside Tim Yanke’s Monthaven Arts Exhibition, Meet the Artist: 10 Questions with Slava Ilyayev, Art & Gallery News, Artists & Special Collections, Slava Ilyayev, Art Definitions: A Glossary of Terms and Definitions Regarding Art, FAQ: Park West Gallery Frequently Asked Questions. [22], Plate 18: Enterrar y callar (Bury them and keep quiet). A rare sympathetic image of clergy generally shown on the side of oppression and injustice. Band. [9] In 1808, a popular uprising—incited by Ferdinand's supporters—saw Godoy captured and left Charles with no choice but to abdicate; he did so on 19 March 1808, allowing his son to ascend the throne as Ferdinand VII. Critic Philip Shaw notes that the ambiguity is still present in the final group of plates, saying there is no distinction between the "heroic defenders of the Fatherland and the barbaric supporters of the old regime". Los desastres de la guerra: Goya. Le propos de la séquence « Galicia íntimamente » est d'offrir aux élèves une entrée originale qui leur permette à la fois de se documenter sur cette région, sur son histoire, son économie mais aussi tout simplement qu'ils découvrent un peuple qui possède une langue propre, … "And so the record proceeds, horror after horror, unalleviated by any of the splendors which other painters have been able to discover in war; for, significantly, Goya never illustrates an engagement, never shows us impressive masses of troops marching in column or deployed in the order of battle .... All he shows us is war's disasters and squalors, without any of the glory or even picturesqueness."[66]. In Esto es peor he subverts the classical motifs used in war art through his addition of a degree of black theatre—the branch piercing the body through the anus, twisted neck and close framing. [19] However, there are several exceptions. The Disasters of War (Spanish: Los desastres de la guerra) is a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746–1828). [1][42] In plate 82, Esto es lo verdadero (This is the true way), she is again bare-breasted and apparently represents peace and plenty. (What good is a cup?). (A heroic feat! [44] He produced two albums of proofs—among many individual proof impressions—of which only one is complete. 12 3 4. These were cut in half to produce four of The Disasters of War's prints. [84], Media related to The Disasters of War at Wikimedia Commons. Examples, especially from later editions, are available on the art market. [23] In plate 9, No quieren (They do not want to), an elderly woman is shown wielding a knife in defence of a young woman who is being assaulted by a soldier. [75] According to Robert Hughes, as with Goya's earlier Caprichos series, The Disasters of War is likely to have been intended as a "social speech"; satires on the then prevailing "hysteria, evil, cruelty and irrationality [and] the absence of wisdom" of Spain under Napoleon, and later the Inquisition. Las mugeres dan valor. [74] Thus, they express the randomness of violence, and in their immediacy and brutality they have been described as analogous to 19th- and 20th-century photojournalism. [a 11] Goya scholars are sceptical of the account; Nigel Glendinning described it as a "romantic fantasy", and detailed its many inaccuracies. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! He also created 35 prints early in his career—many of which are reproductions of his portraits and other works—and about 16 lithographs while living in France. [52], The Bermúdez set is considered "uniquely important ... because it shows the series as Goya must have intended to publish it, and the way he intended the plates to be printed". In addition, Goya refuses to offer the stability of traditional narrative. [57][a 10] A further four editions were published, the last in 1937, so that in total over 1,000 impressions of each print have been printed, though not all of the same quality. [5] In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set. [43][a 5]. [24], The titles of a number of scenes link pairs or larger groups, even if the scenes themselves are not related. "[68] Caprichos was put on sale in 1799, but was almost immediately withdrawn after threats from the Inquisition. Once French forces were expelled from the country and Spain’s King Ferdinand VII was restored in 1814, Goya denied any involvement with the French. The new regime stifled the hopes of liberals such as Goya, who used the term "fatal consequences" to describe the situation in his title for the series. It has been suggested that Goya numbered the initial set of 56 plates in 1814, during a few months of national optimism following the end of the war, with the intent of publishing them then. Tristes presentimientos de lo que ha de acontecer, Real Academia de Bellas Artes de San Fernando, Soft Construction with Boiled Beans (Premonition of Civil War), Sir William Stirling-Maxwell, 9th Baronet, Goya's 'Disasters of War': Grisly Indictment of Humanity, Berkeley Art Museum and Pacific Film Archive, Chapman brothers 'rectify' Disasters of War. By then, 80 had passed from Goya's son, Javier—who had stored them in Madrid after his father left Spain—to the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando), of which Goya had been director. Los desastres de la guerra publié le 07/05/2020 - mis à jour le 17/06/2020 Coopération hispano-germanique autour d’émotions partagées. PRESENTATION DE LA SEQUENCE « Los desastres de la guerra ». Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–1814 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. These modifications sometimes affected the accompanying scene's meaning or impact, such as in Plate 36: in all printed editions, the title is given as 'Tampoco' ('Not in this case either'), while in the proof series it is written as 'Tan poco' ('So little'). During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. This tradition is reflected especially in Dutch depictions of the Eighty Years' War with Spain, and in the work of 16th-century German artists like Hans Baldung. (1810-1820), Francisco Goya. [21] Civilian death is also captured in detail. If their side won, women and children would search the battlefield for their husbands, fathers and sons. Plate 67, Esta no lo es menos (This is no less curious), shows two statues carried by two stooped members of clergy. Reflecting on The Disasters of War, biographer Margherita Abbruzzese notes that Goya asks that the truth "be seen and ... shown to others; including those who have no wish to see it .... And the blind in spirit stay their eyes on the outward aspect of things, then these outward aspects must be twisted and deformed until they cry out what they are trying to say. Despite the fact that Goya worked on many of the plates during the actual war, “The Disasters of War” wouldn’t be published until 1863, 35 years after Goya’s death. Hughes (2004), 297–299; Wilson-Bareau, 50–51. The last print in the first group. For the most part, Goya's numbering agrees with these other methods. EXPLOITATION PEDAGOGIQUE DE LA SEQUENCE. [2] Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath.[3]. Lo mismo. "[65], In his 1947 book on Goya's etchings, English author Aldous Huxley observed that the images depict a recurrent series of pictorial themes: darkened archways "more sinister than those even of Piranesi's Prisons"; street corners as settings for the cruelty of the disparities of class; and silhouetted hilltops carrying the dead, sometimes featuring a single tree serving as gallows or repository for dismembered corpses. Here, she lies in front of a peasant. Most, however, believe the artist preferred to wait until they could be made public without censorship. Most portray the aftermath of battle; they include mutilated torsos and limbs mounted on trees, like "fragments of marble sculpture". La Biblioteca Histórica de la Universidad Complutense de Madrid conserva entre sus tesoros dos ejemplares (uno de la Facultad de Filosofía y Letras, y uno de la Facultad de Medicina) de los cien que formaron la tercera edición de la serie Los desastres de la guerra, de Francisco de Goya.

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