One cannot look. (No se puede mirar.), number 26 of 80; from the series The Disasters of War (Los Desastres de la Guerra)

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

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1810-1820

Etching, aquatint and scraping on paper

First edition, made prior to all corrections

Plate: 5 9/16 × 8 1/8 in. (14.2 × 20.7 cm)

Sheet: 9 5/8 × 12 3/4 in. (24.5 × 32.4 cm)

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

PR.991.50.1.26

Publisher

Royal Academy of Fine Arts of San Fernando, Madrid, Spain

Geography/Culture

Europe, Spain

Period

19th century

Object Name

Print

Classification

Print

Not on view

Inscription

Inscribed, in plate, lower center: No se puede mirar.; inscribed, in plate, upper left: 2d; inscribed, in plate, lower left: 27; inscribed, in graphite, upper right: 26 Watermark: HGO/Palmette

Course History

ARTH 41.03, European Art 1750-1850, Allan Doyle, Winter 2019

ARTH 16.17, Rembrandt, Joy Kenseth, Spring 2016

ARTH 50, Romanticism, Kristin O‘Rourke, Spring 2015

ARTH 50, Romanticism, Kristin O‘Rourke, Spring 2015

COLT 73.4, Violence, Ayo Coly, Winter 2015

SART 27, SART 28, SART 74, Printmaking I, Printmaking II, Printmaking III, Louise Hamlin, Spring 2014

SPAN 31, Introduction to Hispanic Studies II: 18th and 19th Centuries, Txetxu Aguado, Winter 2014

SPAN 31, Introduction to Hispanic Studies II: 18th and 19th Centuries, Jose del Pino, Winter 2014

SART 27, SART 28, Printmaking I-Intaglio, Printmaking II, Louise Hamlin, Winter 2014

ANTH 12.3, WGST 42.5, The Ethnography of Violence, Chelsey Kivland, Fall 2013

SART 27, SART 28, SART 74, Printmaking I, II, III, Louise Hamlin, Spring 2013

FILM 47, From The Fall of the Wall to 9-11: Understanding the New World Disorder, Mark Williams, James Nachtwey, Spring 2013

SART 27, SART 28, Printmaking I: Intaglio, Printmaking II, Louise Hamlin, Winter 2013

SART 27, Printmaking I: Intaglio, Louise Hamlin, Spring 2012

SART 27, SART 28, Printmaking I: Intaglio, Printmaking II, Louise Hamlin, Winter 2012

Exhibition History

Representations of the Body in Space from the Renaissance to the Present: Selections from the Permanent Collection, Harrington Gallery Teaching Exhibition, Art History 2, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 3-March 15, 1998.

Fatal Consequences: Callot, Goya, and the Horrors of War, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 8-December 9, 1990.

European Art at Dartmouth: Highlights from the Hood Museum of Art, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, August 30, 2008-March 8, 2009.

Alfredo Jaar, The Eyes of Gutete Emerita, Harrington Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, July 8-September 3, 2006.

A Gift to the College: The Mr. and Mrs. Adolph Weil Jr. Collection of Master Prints, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 17-December 20, 1998.

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, p.73, ill. p.72, listed, p.98, no. 127.

T. Barton Thurber, European Art at Dartmouth: Highlights from the Hood Museum of Art, Hanover: Trustees of Dartmouth College, 2008, pp. 178-179, ill. p.178, no. 110.

Katherine W. Hart, Alfredo Jaar, The Eyes of Gutete Emerita [brochure], Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2006, ill. p. 2.

Hilliard T. Goldfarb and Reva Wolf, Fatal Consequences: Callot, Goya, and the Horrors of War, Hanover, New Hampshire: Trustees of Dartmouth College, 1990, p. 63, ill. XI.

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 145; Harris 146

This record was created from historic documentation and may not have been reviewed by a curator; it may be inaccurate or incomplete.

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