{ "objects" : [ { "embark_ID" : 11357, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11357", "Disp_Access_No" : "1994.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1810 - circa 1820 (p. 1903)", "_Disp_Start_Dat" : "1810", "_Disp_End_Date" : "1820", "Disp_Title" : "Ni por esas [Neither Do These], plate 11 from Los Desastres de la Guerra", "Alt_Title" : "", "Obj_Title" : "Ni por esas [Neither Do These], plate 11 from Los Desastres de la Guerra", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "24.5 cm x 32.8 cm (9 5/8 in. x 12 15/16 in.)", "Disp_Height" : "24.5 cm", "Disp_Width" : "32.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching, lavis, drypoint and burin", "Support" : "", "Disp_Medium" : "Etching, lavis, drypoint and burin", "Info_Page_Comm" : "Goya began the drawings for this series of eighty prints, Los desastres de la guerra, in 1808, the year French forces invaded Spain and began their brutal six-year occupation of the country. The first plate was created in 1810 with the series completed and put in definitive order in 1820. Rather than the grand scale and heroic sweep of battle or the valor and bravery of the combatants, the Desastres present vignettes of deliberately awkward, fragmentary, and unstable composition and highlight the suffering of common people. This series is Goya’s most realistic; its close focus and unflinching record break with traditional artistic representations of war and presage documentary photography. Refusing to make any aspect of warfare attractive or to find any consolation for its effects, the Desastres anticipate the character of twentieth-century responses to war, from Expressionism to Existentialism. Because of the controversial nature of its content, Goya did not publish it during his lifetime. The first edition was issued in 1863, thirty-five years after Goya’s death. This plate is one of several in the series, that concern the suffering of Spanish women at the hands of the Napoleonic forces. The fine equilibrium of the group in the foreground, the elegant rhyme of the curve in the background, and the shadow of a church underscore the scene’s brutality", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Susan Thomas, 1994", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Spanish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1994.31.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1994.31.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1994.31.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1994.31.tif", "IsPrimary" : "1", "_SurrogateID" : "4916", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }