Last days to see the exhibition ‘Goya. Desastres de la Guerra’, which has received nearly 9,000 visitors at the Mirador del Carmen.

The exhibition, organized by the Estepona City Council and Fundación MAPFRE, can be seen until Sunday, March 31.

Estepona City Council informs that the exhibition ‘Goya. Disasters of War. Collections MAPFRE Foundation’ reaches its last days of assembly in the Mirador del Carmen. The exhibition remains open during the Easter holidays and until Sunday, March 31, inclusive, from 10.00 to 14.00 and from 16.00 to 20.00 hours.

The exhibition, which has been very well received by the public with a total of 8,647 visits so far and since its inauguration last November 18, displays the 80 prints that Francisco de Goya y Lucientes made to express the pain and anguish he felt at the events of war and its consequences on the civilian population.

The exhibition of engravings, organized by the Consistory and Fundación MAPFRE, has consolidated the Mirador del Carmen as an exhibition space of reference at national level, which was inaugurated with a pictorial collection of Carmen Thyssen-Bornemisza, which made an interesting journey through the Spanish painting of the nineteenth and twentieth centuries.

Francisco de Goya’s engravings constitute one of the most important areas of Fundación MAPRE’s collections and confirm the interest that this organization has always shown in works on paper and specifically in engravings.

Goya’s modernity in depicting a war and its consequences is still in full force today. He is undoubtedly the first artist to do so without extolling the heroism of one side or the other, without taking sides. On the contrary, he shows the pain and barbarity of such an event, and in doing so, he universalizes it. Goya depicts what happened during the War of Independence, but in reality it could be about any war.

Goya’s ‘The Disasters of War’ is the first example in the history of painting where events such as war and its consequences are reflected not as heroic acts, but as the disaster and barbarism that they really are: fear, terror, hunger and poverty. Goya represents the war almost as if it were a chronicle and the facts are of such crudeness, that at the same time that they denounce, they seem to exclaim a strong cry for peace.

Unlike other prints of the time, where what stood out was the heroism of the contenders and the din of the battles, the Aragonese artist focuses on the point of view of the victims, something unprecedented until now in the history of painting. The victims and their suffering, but also the political criticism are the protagonists of these plates, which incites the viewer to reflect. It would seem that Goya has not only captured the events of the War of Independence, but also announces and draws our attention to all wars and their barbarity, those that were to come, that are happening and continue to happen in different parts of the world.

Seven editions of ‘The Disasters of War’ are currently preserved. The fourth, which is part of the Fundación MAPFRE Collections, was produced in 1906 at the Calcografía Nacional. The print run was limited to 275 copies, on quality laid cream paper and very dark black ink.

The set of prints is usually divided into three parts: the first two [Disasters 1 to 64] constitute the ‘disasters of war’ themselves, while the third, the so-called ’emphatic caprices’ [Disasters 65 to 80], of a more allegorical nature, are understood as a political reflection on the absolutist government of Ferdinand VII after the end of the war and the withdrawal of the French troops.

The violence that Goya witnessed during the War of Independence prompted the artist to resume drawings, sketches and prints, an activity he had somewhat abandoned since 1799 when he painted ‘Los Caprichos’. This type of work, of a private nature, is an effective method through which to express the pain and anguish he felt at the events of the war and its consequences on the civilian population.

Although he did not publish them during his lifetime, probably due to the political situation, as his critical view of the conflict would have clashed with the commemorative wishes of King Ferdinand VII on his return to Spain, we know of a complete edition, bound, which he gave to his friend Ceán Bermúdez before his departure for Bordeaux in 1824. The handwritten title page of this album reads: “Fatales consequencias de la sangrienta guerra en España con Buonaparte. And other emphatic caprices, in 85 prints. Invented, drawn and engraved, by the original painter D.Francisco de Goya y Lucientes. In Madrid”. The exact chronological limits in the execution of the series are unknown, but it is usually dated between 1810, date that appears in three of the prints, and 1815.

The exhibition can be visited free of charge by those registered in the city. The price of tickets for non-residents is 6 euros for general admission and 4 euros for reduced admission. The exhibition hall will remain open until Sunday, March 31, from 10.00 to 14.00 hours and from 16.00 to 20.00 hours.