106 Y No Hay Remedio

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106 – Y No Hay Remedio (And There’s Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15 Francisco de Goya. 1810-1823 C.E. (published 1863). Etching, drypoint, burin, and burnishing • Article at Khan Academy • Part of the aquatint series The Disasters of War from 1810 to 1820. The eighty-two images add up to a visual indictment of and protest against the French occupation of Spain by Napoleon Bonaparte o The French Emperor had seized control of the country in 1807 after he tricked the king of Spain, Charles IV, into allowing Napoleon’s troops to pass its border, under the pretext of helping Charles invade Portugal. He did not. Instead, he usurped the throne and installed his brother, Joseph Bonaparte, as ruler of Spain. Soon, a bloody uprising, occurred, in which countless Spaniards were slaughtered in Spain’s cities and countryside. Although Spain eventually expelled the French in 1814 following the Peninsular War (1807-1814), the military conflict was a long and gruesome ordeal for both nations • Throughout the entire time (1807-1814), Goya worked as a court artist for Joseph Bonaparte, though he would later deny any involvement with the French “intruder king.” • Importance of this image: o The Disasters of War was not the last time that Goya would take on the subject of the horrors of the Peninsular War. In 1814, after completing The Disasters of War, Goya created his masterpiece The Third of May, 1808 which portrays the ramifications of the initial uprising of Spanish against the French, right after Napoleon’s takeover. Sometimes called “The first modern painting,” its resemblance to "Y no hai remedio" is undeniable • Goya’s Disasters of War series was not printed until thirty-five years after the artist’s death, when it was finally safe for the artist's political views to be known. The images remain shocking today, and even influenced the novel of famous American author Ernest Hemingway, For Whom the Bell Tolls The Third of May, 1808 .

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forty-five.com / papers /194 Herbert Marder Reviewed by Guy Tal Mortal Designs I Like the young goat that gives the Caprichos their name, these etchings, unpredictable as goats leaping from boulder to boulder among the hills, evoke the painter Francisco Goya who made them after a sudden illness. At the height of his fame, he falls into a coma, close to death. The doctors have no d i a g n o s i s . H e fi g h t s h i s w a y b a c k a n d c o m e s t o h i m s e l f ,forty- six years old, deaf, ridden by the weight of things. His etchings unveil a prophetic vision, a loneliness like no other, and when they become known years after Goya’s death—timeless. II Court painter to King Carlos IV, Goya is nursed back to health by a wealthy friend. Enemies at court spread rumors…expected not to survive. At least, he’ll never paint again, they say. He ridicules them as soon as he can pick up a brush, paints s m a l l c a n v a s e s , l i k e a j e w e l e r ’ s u n c u t s t o n e s , r e fl e c t i o n s of the nightmare he has lived through, and the inner world his passion unveils, a dark core in which the aboriginal being is close to extinction.
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