Currently not on view
Ni por esas (Neither Do These),
1808/09–12, printed 1863
Francisco José de Goya y Lucientes, 1746–1828; born Fuendetodos, Spain; died Bordeaux, France
Published by Real Academia de Bellas Artes de San Fernando, Spanish, founded 1744
Published by Real Academia de Bellas Artes de San Fernando, Spanish, founded 1744
2011-85
Following the French invasion of northern Spain in the spring of 1808, the Peninsular War subjected the Spanish people to six years of cruelty, terror, and extreme privation. Grief-stricken, Goya began work on his Disasters of War etchings following the brutal siege and capture of his boyhood city of Zaragoza, from December 1808 to February 1809. By 1814, Goya had completed fifty-six of the eighty plates he would eventually create for Los Desastres; in the repressive political climate that followed the reinstatement of absolutist monarchy under Ferdinand VII, however, Goya’s series on the horrors of war remained unpublished in the artist’s lifetime. Ultimately, the plates were acquired by the Real Academia de Bellas Artes de San Fernando in 1863 and were published for the first time.
Information
Title
Ni por esas (Neither Do These)
Dates
1808/09–12, printed 1863
Medium
Etching, lavis, drypoint, and burin
Dimensions
plate: 16 x 21 cm. (6 5/16 x 8 1/4 in.)
sheet: 25 x 34.5 cm. (9 13/16 x 13 9/16 in.)
Credit Line
Museum purchase, Felton Gibbons Fund
Object Number
2011-85
Place Made
Europe, Spain, Madrid
Inscription
Numbered in plate, upper right corner: 11
Numbered in plate, lower left corner: 18
Titled in plate, lower center: Ni por esas.
Reference Numbers
Delteil 130; Harris 131
Materials
Techniques
Subject
-
Loys Delteil, Le peintre-graveur illustré (Paris: Chez l'Auteur, 1906-1930).
, no. 155 (illus.) - Tomás Harris, Goya: Engravings and Lithographs (Oxford: B. Cassirer, 1964)., no. 156
- Javier Blas, El libro de los desastres de la guerra (Madrid: Museo Nacional del Prado, 2000)., no. 36
- "Acquisitions of the Princeton University Art Museum 2011," Record of the Princeton University Art Museum 71/72 (2012-13): p. 75-132., p. 97