## The Project Gutenberg eBook of Los Desastres de la guerra

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Title: Los Desastres de la guerra

Author: Francisco Goya

Release date: August 18, 2019 [eBook #60117]

Language: Spanish

Credits: Produced by Chuck Greif (This file was produced from images
available at The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK LOS DESASTRES DE LA GUERRA ***

# LOS DESASTRES DE LA GUERRA:

colección de ochenta láminas inventadas y grabadas al agua fuerte
POR
DON FRANCISCO GOYA.
Publícala la Rl. Academia de Nobles Artes de San Fernando.
MADRID.
1863.

- 1. Tristes presentimientos de lo que ha de acontecer.
- 2. Con razon ó sin ella.
- 3. Lo mismo.
- 4. Las mugeres dan valor.
- 5. Y son fieras.
- 6. Bien te se está.
- 7. Que valor!
- 8. Siempre sucede.
- 9. No quieren.
- 10. Tampoco.
- 11. Ni por esas.
- 12. Para eso habeis nacido.
- 13. Amarga presencia.
- 14. Duro es el paso!
- 15. Y no hai remedio.
- 16. Se aprovechan.
- 17. No se convienen.
- 18. Enterrar y callar.
- 19. Ya no hay tiempo.
- 20. Curarlos, y á otra.
- 21. Será lo mismo.
- 22. Tanto y mas.
- 23. Lo mismo en otras partes.
- 24. Aun podrán servir.
- 25. Tambien estos.
- 26. No se puede mirar.
- 27. Caridad.
- 28. Populacho.
- 29. Lo merecia.
- 30. Estragos de la guerra.
- 31. Fuerte cosa es!
- 32. Por qué?
- 33. Qué hai que hacer mas?
- 34. Por una navaja.
- 35. No se puede saber por qué.
- 36. Tampoco.
- 37. Esto es peor.
- 38. Bárbaros!
- 39. Grande hazaña! Con muertos!
- 40. Algun partido saca.
- 41. Escapan entre las llamas.
- 42. Todo va revuelto.
- 43. Tambien esto.
- 44. Yo lo vi.
- 45. Y esto tambien.
- 46. Esto es malo.
- 47. Así sucedió.
- 48. Cruel lástima!
- 49. Caridad de una muger.
- 50. Madre infeliz!
- 51. Gracias á la almorta.
- 52. No llegan á tiempo.
- 53. Espiró sin remedio.
- 54. Clamores en vano.
- 55. Lo peor es pedir.
- 56. Al cementerio.
- 57. Sanos y enfermos.
- 58. No hay que dar voces.
- 59. De qué sirve una taza?
- 60. No hay quien los socorra.
- 61. Si son de otro linage.
- 62. Las camas de la muerte.
- 63. Muertos recogidos.
- 64. Carretadas al cementerio.
- 65. Qué alboroto es este?
- 66. Extraña devocion!
- 67. Esta no lo es menos.
- 68. Que locura!
- 69. Nada. Ello dirá.
- 70. No saben el camino.
- 71. Contra el bien general.
- 72. Las resultas.
- 73. Gatesca pantomima.
- 74. Esto es lo peor!
- 75. Farándula de charlatanes.
- 76. El buitre carnívoro.
- 77. Que se rompe la cuerda.
- 78. Se defiende bien.
- 79. Murió la Verdad.
- 80. Se resucitará?

El nombre de Goya es bien conocido de todos los amantes de las Artes, y ha volado por España y fuera de ella acompañado de una fama merecida: á pesar de la poca justicia con que generalmente son juzgados los hombres de mérito verdadero por sus contemporáneos, la generación que concluye, que le conoció y trató en su vigor, la que hoy média su camino, que le alcanzó en sus últimos años, y la que comienza su carrera artística y ha visto sus obras y oido hablar do él á sus padres y á sus maestros, todas unánimes le conceden un honroso lugar en la série larga y brillante de los artistas españoles. Y no debe Goya su nombre y su fama á la circunstancia de haber escaseado tanto los artistas notables en España durante el último tercio del siglo pasado y el primero del presente, no: Goya hubiera conquistado siempre y en cualesquiera circunstancias el renombre que no podia menos de adquirirle su originalidad verdadera, hija de la singular independencia de su carácter: maestro de sí mismo, puede decirse que por sí solo constituyó Escuela, adoptando un modo de ver en artes que nadie tuvo antes que él, que acaso nadie seguirá despues. No se propone la Academia hacer una crítica del génio y de las obras de este hombre singular, que ha sido ya juzgado con algún acierto por propios y estraños; y al publicar una coleccion, hasta ahora inédita, de sus estimadas aguas-fuertes, cumple solo un honroso deber, contribuyendo á dar á conocer cada vez, mas las obras características de tan distinguido maestro, y tan digno individuo de este cuerpo artístico. La coleccion que él designó con el nombre de Estragos ó Desastres de la Guerra, es sin disputa una de las más notables que en este género produjo Goya: en ella se descubre todo el brío de su fogosa imaginación, exaltada y sobreescilada por un vivo sentimiento de patriotismo, en aquellos terribles momentos en que una injusta invasión estranjera pretendía humillar el orgullo y altivez característicos del nombre castellano: ¿qué mucho, pues, que un español, un aragonés y un hombre del carácter duro é independiente de Goya se dejase arrastrar muchas veces hasta la exageracion y la caricatura? En cambio respira esta obra novedad en los asuntos, originalidad en los tipos, fuego en la composicion, valentía y seguridad en la mancha, decision y hasta finura en el dibujo. Para que nada falte á esta singular coleccion, las leyendas puestas á cada lámina son otro rasgo mas del génio de su autor: concisas, incisivas y picantes añaden carácter, si añadírselo es posible á lo que ya consignó el lápiz del artista: una breve frase, y á veces una palabra sola, revelan con su misma rapidez la idea fugaz que su mente concibiera en un momento y su mano representara en poco más de otro. La Academia, que ha adquirido las planchas de esta coleccion, conocida de muy pocos y de la que solo se habian sacado un número reducido de pruebas, la publica con la confianza de que ha de merecer una favorable acogida á los amantes de las Artes españolas.

Varias son las biografías que se han escrito y publicado del célebre Goya, cuya vida y cuyo retrato son ya bastante conocidos; por eso la Academia no cree necesario poner al frente de esta publicacion sino una brevísima noticia de su vida y obras, para conocimiento de aquellos pocos que antes de examinarla, no hayan leído ninguna de aquellas.

D. Francisco Goya y Lucientes nació en Fuentedetodos, Aragón, el dia 31 de Marzo de 1746: no se tienen noticias detalladas de su juventud, y solo se sabe que desde la edad de 13 años se dedicó al dibujo en Zaragoza bajo la dirección de D. José Luzan, y que, muy jóven aún, pasó á Roma donde continuó sus estudios. Las primeras obras que dieron á conocer su génio en la pintura fueron los cuadros que ejecutó para la fábrica de tapices, cuyo valor autorizaba con su visto bueno el caballero Mengs, á quien tenia asombrado la grande facilidad con que los hacia. Pintó al fresco una de las medias naranjas de la Iglesia del Pilar de Zaragoza y en Madrid la capilla de San Antonio de la Florida. Tuvo bastante facilidad en los retratos, y los mejores fueron los de aquellos amigos en que no empleó mas que una sesión. El Cristo y cuadro del Santo en la Iglesia de San Francisco, y el de San José de Calasanz en la de San Antonio Abad de Madrid, los tres que hizo para la capilla del Monte Torrero en Zaragoza, el prendimiento que existe en la sacristía de la Catedral de Toledo, y Santa Justa y Rufina en la de Sevilla, bastan para dar á conocer su mérito artístico; aunque siempre merecieron su predileccion los cuadros que tenia en su casa, pues, como pintados con libertad según su génio y para su uso particular, los hizo con el cuchillo de la paleta en lugar del pincel, logrando sin embargo que causen un efecto admirable á proporcionada distancia. Pintó muchos cuadros en que representó con admirable verdad las costumbres del pueblo bajo de Madrid, y otros muchos asuntos variados y caprichosos. Son muy notables y dignas de verse entre sus obras de estos géneros la coleccion de cuadros que posee el Excmo. Sr. Duque de Osuna en su bella quinta de la Alameda, que representan varias escenas populares en figuras de tamaño mayor y mas concluidas que lo que generalmente acostumbraba, los retratos que en considerable número tienen el mismo Sr. Duque y el de Fernan-Nuñez, y la de pinturas al temple que ejecutó sobre los muros de la casa que habitó en las afueras de Madrid, situada en una altura, cerca del camino de la ermita de San Isidro y que hoy pertenece al Sr. D. Segundo Colmenares: los asuntos de estas pinturas son muy variados; conciliábulos de brujas, riñas, escenas de costumbres y algún asunto mitológico. La Academia posee cuatro cuadros compañeros que representan un auto de fé, una procesiosn de Semana santa, una corrida de toros en una aldea, y una casa de locos; posee además otro que representa la mascarada del entierro de la sardina, de figuras pequeñas como los otros cuatro; otros dos que representan en tamaño natural el uno una mujer tendida y caprichosamente vestida de maja, y el otro otra que pasa por retrato de la actriz conocida por la Tirana, y el retrato del mismo Goya. Las dos anteriores se van á grabar para formar parle de la coleccion de grabados de sus cuadros notables que la Academia se propone publicar.

Grabó al agua fuerte además de la coleccion que hoy se publica otras tres que compondrán mas de doscientos cobres y pasó los últimos años de su vida dibujando constantemente.

Fué nombrado individuo de esta Academia en 7 de Mayo de 1780, Director de Pintura en 15 de Setiembre de 1795, quedando como honorario dos años despues. Fué pintor de cámara del Rey Cárlos IV desde Abril de 1789 y el primero de los de esta clase en Octubre de 1799. Falleció en Burdeos á los 84 años de edad el 16 de Abril de 1828.

Tristes presentimientos de lo que ha de acontecer.

Con razon ó sin ella.

Lo mismo.

Las mugeres dan valor.

Y son fieras.

Bien te se está.

Que valor!

Siempre sucede.

No quieren.

Tampoco.

Ni por esas.

Para eso habeis nacido.

Amarga presencia.

Duro es el paso!

Y no hai remedio.

Se aprovechan.

No se convienen.

Enterrar y callar.

Ya no hay tiempo.

Curarlos, y á otra.

Será lo mismo.

Tanto y mas.

Lo mismo en otras partes.

Aun podrán servir.

Tambien estos.

No se puede mirar.

Caridad.

Populacho.

Lo merecia.

Estragos de la guerra.

Fuerte cosa es!

Por qué?

Qué hai que hacer mas?

Por una navaja.

No se puede saber por qué.

Tampoco.

Esto es peor.

Bárbaros!

Grande hazaña! Con muertos!

Algun partido saca.

Escapan entre las llamas.

Todo va revuelto.

Tambien esto.

Yo lo vi.

Y esto tambien.

Esto es malo.

Así sucedió.

Cruel lástima!

Caridad de una muger.

Madre infeliz!

Gracias á la almorta.

No llegan á tiempo.

Espiró sin remedio.

Clamores en vano.

Lo peor es pedir.

Al cementerio.

Sanos y enfermos.

No hay que dar voces.

De qué sirve una taza?

No hay quien los socorra.

Si son de otro linage.

Las camas de la muerte.

Muertos recogidos.

Carretadas al cementerio.

Qué alboroto es este?

Extraña devocion!

Esta no lo es menos.

Que locura!

Nada. Ello dirá.

No saben el camino.

Contra el bien general.

Las resultas.

Gatesca pantomima.

Esto es lo peor!

Farándula de charlatanes.

El buitre carnívoro.

Que se rompe la cuerda.

Se defiende bien.

Murió la Verdad.

Se resucitará?

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