kimerajamm
Joined: 28 Nov 2010
Posts: 785
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 Posted: Thu Jan 20, 2011 2:28 pm Post subject: Museum |
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The published edition of The Disasters of War ends as it begins; with the portrayal of a single, agonized figure. The last two plates show a woman wearing a wreath, intended as a personification of Spain, Truth, or the Constitution of 1812—which Ferdinand had rejected in 1814.[2] In plate 79, Murió la Verdad (The Truth has died), she lies dead. In plate 80, Si resucitará? (Will she live again?), she is shown lying on her back with breasts exposed, bathed in a halo of light before a mob of "monks and monsters".[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. Here, she lies in front of a peasant.[43][a 5]
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Many of Goya's preparatory drawings, mostly in red chalk, have survived and are numbered differently from the published prints.[44] He produced two albums of proofs—among many individual proof impressions—of which only one is complete.[a 6] The full album consists of 85 works, including three small Prisioneros ("Prisoners") made in 1811 which are not part of the series. Goya gave the copy of the full album, now in the British Museum, to his friend Juan Agustín Ceán Bermúdez. It contains a title-page inscription in Goya's hand, is signed at the page edges, and has numbers and titles to the prints written by Goya. These were copied on the plates when the published edition was prepared in 1863. 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. Numbers 81 and 82 rejoined the others in the Academy in 1870, and were not published until 1957.[45]
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