**Originally Listed At $750**

Francisco de Goya y Lucientes (Spanish, 1746-1828). Three etchings from "Desastres de la Guerra" (Disasters of War) series, executed 1810-1820, published ca. 1863. Three framed etchings from Goya's "The Disasters of War" series. Titles include: "Esta no lo es menos" (This no less so, plate 67), "Gatesca pantomima" (Feline Pantomime, plate 73), and "Muertos recogidos" (Harvest of the Dead, plate 63). Each composition reflects Goya's interpretations of the atrocities of war. While the series was inspired by Napoleon's invasion of Spain in 1808, the subsequent Peninsular War (1808-1814), and the famine in Madrid during the winter of 1811-1812, some scholars argue that it demonstrate Goya's protest to all warfare. Size of images (Gatesca pantomina): 6" L x 7.75" W (15.2 cm x 19.7 cm) (Esta no lo es menos): 5.75" L x 7.5" W (14.6 cm x 19 cm) (Muertos recogidos): 5.125" L x 7" W (13 cm x 17.8 cm) Size (frame): 12.75" L x 16.625" W (32.4 cm x 42.2 cm)

About Goya's "The Disasters of War" series: "The ground-breaking series The Disasters of War by the Spanish artist Francisco de Goya contains eighty prints that depict various atrocities associated with warfare. Goya produced the plates for this series over the span of a decade, but, due to their politicized content, the first edition was not published until 1863, thirty-five years after the artist?s death.

Goya's Disasters of War takes inspiration from a specific set of historical conflicts in early nineteenth-century Spain: Napoleon Bonaparte's 1808 invasion of Spain, followed by the Peninsular War (1808?1814), and the famine that beleaguered Madrid in the winter of 1811?1812.

Although these depictions of death, rape, and sickness convey the realities of war in gruesome detail and are rooted in a specific historical context, many scholars have understood Goya?s Disasters as a repudiation of warfare and violence writ large. Throughout the series, the artist often generalizes the landscape settings for his scenes and blurs the distinction between victim and perpetrator, allowing the focus to be the depicted acts themselves." (source: The Clark Art Institute website)

Provenance: Ex-private Schuetz collection, Florida, USA, acquired from Du Pleiss Auction Gallery, Richmond, South Australia, October 20, 1996, lots 133 - 135

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#181781

Etchings are mounted behind glass in custom frames. Etchings have not been examined outside the frames. They present with expected age wear (toning and stains as shown) but imagery is still strong. Frames present with minor scuffs, stains, and abrasions but are otherwise intact and complement the etchings nicely.