Francisco de Goya (1748-1826) dealt with an internal ethical struggle during the Spanish War of Independence (1808-1814) in the Napoleonic Wars (1800-1815). Although he remained court painter under the Bonapartist throne in Spain, Goya’s personal beliefs aligned with the Spanish nationalists. He continued painting French political and military leaders under the new regime. Consequently, King Joseph I awarded him the Royal Order of Spain. By pledging allegiance to the French crown, Goya ostracized himself from the Spanish public.
Goya, though shrouded by the royal court’s protection, nevertheless recognized the terror civilians endured during the War of Independence. There were over 100,000 Spanish casualties, including thousands of non-combatants, over the six-year period. While British and Portuguese armies joined Spain to fight against the French invasions in the Iberian Peninsula (The Peninsular War), Spanish victories were often fought through guerilla warfare. Guerrillas used scare-tactics—mutilation, dismemberment, and other forms of violence— to drive the enemy out. These actions were copied by the Grande Armée who tortured the guerrillas and left them hung on trees as warnings. Goya referenced these tactics in Tampoco (no. 36) and Grande hazaña! Con Muertos! (no. 39). In them, the figures are disturbingly pleasing—the French soldier of Tampoco leans calmly on a table with one hand on his hip and the other holding his head. He looks peaceful and seems to regard the dead man as a work of art.
Because Los Desastres de la Guerra was not published by Goya, but by the Fine Art Academy of San Fernando well after his death, no one can understand the artist’s true intentions for the series. The published series included only eighty plates, missing five additional pieces which are found in a separate set (now a part of the British Museum collection) Goya personally complied and sent to a friend. He created these plates throughout the Spanish War of Independence and well into the restoration of Spanish rulers when the country faced famine and economic catastrophes.
Goya, though shrouded by the royal court’s protection, nevertheless recognized the terror civilians endured during the War of Independence. There were over 100,000 Spanish casualties, including thousands of non-combatants, over the six-year period. While British and Portuguese armies joined Spain to fight against the French invasions in the Iberian Peninsula (The Peninsular War), Spanish victories were often fought through guerilla warfare. Guerrillas used scare-tactics—mutilation, dismemberment, and other forms of violence— to drive the enemy out. These actions were copied by the Grande Armée who tortured the guerrillas and left them hung on trees as warnings. Goya referenced these tactics in Tampoco (no. 36) and Grande hazaña! Con Muertos! (no. 39). In them, the figures are disturbingly pleasing—the French soldier of Tampoco leans calmly on a table with one hand on his hip and the other holding his head. He looks peaceful and seems to regard the dead man as a work of art.
Because Los Desastres de la Guerra was not published by Goya, but by the Fine Art Academy of San Fernando well after his death, no one can understand the artist’s true intentions for the series. The published series included only eighty plates, missing five additional pieces which are found in a separate set (now a part of the British Museum collection) Goya personally complied and sent to a friend. He created these plates throughout the Spanish War of Independence and well into the restoration of Spanish rulers when the country faced famine and economic catastrophes.