Amarga presencia. (Bitter [painful] coexistence.; Bitter [painful] show.)

Francisco Jose de Goya y Lucientes, Spanish, 1746 - 1828

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1810-1820

Etching, lavis and burnishing on paper

First edition, made prior to all corrections

Plate: 5 11/16 × 6 3/4 in. (14.4 × 17.1 cm)

Sheet: 9 3/4 × 12 3/4 in. (24.7 × 32.4 cm)

Hood Museum of Art, Dartmouth: Gift of Adolph Weil Jr., Class of 1935

PR.991.50.1.13

Portfolio / Series Title

Number 13 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

Print

Research Area

Print

Not on view

Inscriptions

Inscribed, in plate, lower center: Amarga presencia.; signed, in plate, lower left: Goya; inscribed, in plate, upper left: 13; inscribed, in graphite, upper right: 13 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

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.96, no. 114.

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 132; Harris 133

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