{"id":"cma-104446","titulo":{"en":"The Horrors of War: There Was Nothing to Be Done and He Died","es":"Los horrores de la guerra: no hubo remedio y murió"},"titulo_original":"The Horrors of War: There Was Nothing to be Done and He Died","autor":"Francisco de Goya (Spanish, 1746–1828)","fecha":"c. 1810–20","cultura":"Spain","tecnica":"etching and aquatint","fuente":"Cleveland Museum of Art","licencia":"CC0-1.0","licencia_url":"https://creativecommons.org/publicdomain/zero/1.0/","credito":"Cleveland Museum of Art, Dudley P. Allen Fund","url_original":"https://clevelandart.org/art/1922.569","imagen_url":"https://openaccess-cdn.clevelandart.org/1922.569/1922.569_web.jpg","ficha":{"en":{"titulo":"The Horrors of War: There Was Nothing to Be Done and He Died","se_ve":"The image is a small rectangular black-and-white print set in the centre of a much larger sheet of off-white paper, with generous margins and the sunken impression of the printing plate still visible around it. Below the image, on the left, a number that appears to read “43” can be seen; in the centre, in delicate handwriting, are the words “Espiró sin remedio,” and a fainter “52” appears near the upper left. Inside the print, against a dark, grainy background with no architecture or landscape to locate the scene, a tight group of figures gathers around someone who is collapsing or already dying. The lightest and most prominent shape is a person seen from behind, wearing a long pale cloak, bare legs, and dark hair bent forward. Beside them, an older bald man leans in, while a woman on the right, wearing a skirt and headscarf and carrying a woven basket on her arm, looks on with an anguished expression. In front, seen from behind, a small child in patterned clothing reaches into the group. At the far left, partly cropped by the huddle, another figure bends over and a small child lies or crawls on the ground. The aquatint creates smoky greys, rough textures, and a heavy shadow pooling beneath their feet, as if night or exhaustion were closing around them.","contexto":"According to the source, this print by Francisco de Goya (1746–1828), dated c. 1810–20 and held by the Cleveland Museum of Art, is made in etching and aquatint. It belongs to the series now known as The Disasters of War, a group of prints devoted largely to violence, famine, and the suffering of civilians. The handwritten caption, “Espiró sin remedio” (“There was nothing to be done and he died”), states the outcome without identifying the people, the place, or the exact cause of death. It is not known whether Goya witnessed this particular episode; probably, as in other plates, he distilled widely experienced wartime conditions into a single scene.","como_mirarla":"First follow the white cloak: it leads you to the centre, where several hands converge. Then look left, toward the small figure lying on the ground, and right, toward the woman with the basket. The caption below does not explain the scene so much as close off any hope of a different ending.","dato_curioso":"The Disasters of War were not published as a series during Goya's lifetime; the first edition appeared in Madrid in 1863, thirty-five years after his death.","preguntas":["Who is dying here, and why does Goya withhold almost everything that would let us identify them?","How does the scene change if we look first at the children rather than at the adults?","What is the difference between witnessing an event and arriving, as these figures seem to, too late to help?"]},"es":{"titulo":"Los horrores de la guerra: no hubo remedio y murió","se_ve":"La imagen es un grabado rectangular en blanco y negro, impreso en el centro de una hoja amplia de papel color hueso, con márgenes generosos y la huella hundida de la plancha visible alrededor. Abajo, a la izquierda, se distingue un número que parece «43» y, al centro, con caligrafía delicada, se lee «Espiró sin remedio»; arriba a la izquierda hay otro número tenue, «52». Dentro del grabado, sobre un fondo oscuro y granuloso, sin arquitectura ni paisaje que sitúe la escena, un grupo apretado de figuras rodea a alguien que se desploma o ya muere. La forma más luminosa y destacada es una persona de espaldas, con una capa larga y clara, las piernas desnudas y el cabello oscuro inclinado hacia adelante. A su lado se asoma un hombre mayor y calvo, mientras a la derecha una mujer con falda y pañuelo, con una canasta tejida en el brazo, observa con gesto angustiado. Al frente, también de espaldas, un niño pequeño con ropa estampada se mete entre los adultos. En el extremo izquierdo, parcialmente tapada por el grupo, otra figura se inclina y un niño yace o gatea en el suelo. La aguatinta crea grises ahumados, texturas ásperas y una sombra pesada que se acumula bajo los pies, como si la noche o el cansancio cerraran el espacio.","contexto":"Según los datos de la fuente, esta estampa de Francisco de Goya (1746–1828), fechada hacia 1810–20 y conservada en el Cleveland Museum of Art, está realizada al aguafuerte y aguatinta. Pertenece a la serie hoy conocida como Los desastres de la guerra, dedicada en gran parte a la violencia, el hambre y el sufrimiento de la población civil. La leyenda manuscrita, «Espiró sin remedio», dice el desenlace sin identificar a las personas, el lugar ni la causa exacta de la muerte. No se sabe si Goya presenció este episodio concreto; probablemente, como en otras planchas, condensó en una sola escena experiencias frecuentes en tiempos de guerra.","como_mirarla":"Sigue primero la capa blanca: te lleva al centro, donde se juntan varias manos. Después mira a la izquierda, hacia la pequeña figura tendida en el suelo, y a la derecha, hacia la mujer con la canasta. El texto inferior no explica tanto la escena como cerrar cualquier esperanza de otro final.","dato_curioso":"Los desastres de la guerra no se publicaron como serie en vida de Goya; la primera edición apareció en Madrid en 1863, treinta y cinco años después de su muerte.","preguntas":["¿Quién está muriendo aquí y por qué Goya oculta casi todo lo que permitiría identificarlo?","¿Cómo cambia la escena si miramos primero a los niños y no a los adultos?","¿Qué diferencia hay entre presenciar un hecho y llegar, como parecen llegar estas figuras, demasiado tarde para ayudar?"]}},"etiquetas":{"en":["war","death","civilian suffering","etching","aquatint","goya","19th century","spain","grief","helplessness","children","black and white"],"es":["guerra","muerte","sufrimiento civil","aguafuerte","aguatinta","goya","siglo xix","españa","duelo","impotencia","infancia","blanco y negro"]},"objetos":["grupo de civiles","hombre moribundo","mujer con canasta","niños","capa blanca","sombra en el suelo","leyenda manuscrita"],"colores":["#f3eee5","#1e1a15","#4a4238","#8a8175","#c9c0b1","#6e6558"],"animo":["luto","impotencia","sobriedad"],"epoca":"c. 1810–20","certeza":"alta","advertencias":["muerte","guerra","sufrimiento civil"],"capa":{"voces":[{"guia":"la restauradora","en":"I pause on the bone-colored paper and the sunken plate mark, that rectangle framing the scene. Everything here is etching and aquatint, smoky grays and granular blacks that Goya worked around 1810–20. Light falls on the white cloak, the brightest area in the print, leaving a thick shadow under the feet. Below we can read Espiró sin remedio and make out the number 43. There is no location or cause, just the technical finish that makes helplessness visible.","es":"Me detengo en el papel color hueso y en la huella hundida de la plancha, ese rectángulo que encierra la escena. Aquí todo es aguafuerte y aguatinta, grises ahumados y negros granulados que Goya trabajó hacia 1810–20. La luz cae sobre la capa blanca, la más clara de la estampa, y deja una sombra espesa bajo los pies. Abajo se lee Espiró sin remedio y se distingue un número 43. No hay lugar ni causa, solo el acabado técnico que hace visible la impotencia."},{"guia":"el astrónomo aficionado","en":"I see this print like a night sky with no stars. The background is dark and grainy, with no architecture or landscape, as if night had closed everything in. At the center the light cloak of the figure seen from behind shines, like a pale moon surrounded by silhouettes. Around it, the tight group forms a constellation of bodies: the woman with a basket, the older man, the child in patterned clothing. The shadow on the ground is the eclipse where everything fades out.","es":"Veo este grabado como un cielo nocturno sin estrellas. El fondo es oscuro y granuloso, sin arquitectura ni paisaje, como si la noche lo hubiera cerrado todo. En el centro brilla la capa clara de la figura de espaldas, como una luna pálida rodeada de siluetas. A su alrededor, el grupo apretado forma una constelación de cuerpos: la mujer con canasta, el hombre mayor, el niño de ropa estampada. La sombra en el suelo es el eclipse donde todo se apaga."},{"guia":"la niña de ocho años","en":"It makes me sad to see so many people crowded around someone who is falling. The person in the white cloak is seen from behind and looks like they want to help but cannot. There is a lady with a basket on her arm and a little kid squeezing between the grown-ups, like I do when I want to see. Everything is in black and white and feels dark. At the bottom it says Espiró sin remedio, which sounds like no one could do anything anymore.","es":"Me da tristeza ver a tanta gente junta alrededor de alguien que se cae. La persona de la capa blanca está de espaldas y parece que quiere ayudar pero no puede. Hay una señora con una canasta en el brazo y un niño chiquito que se mete entre los grandes, como yo cuando quiero ver. Todo es en blanco y negro y se siente oscuro. Abajo dice Espiró sin remedio, que suena a que ya nadie pudo hacer nada."}],"retos":[{"pregunta":{"en":"On the bone-colored sheet, below the print, there is a number on the left and a phrase in the center. What does the handwritten phrase say?","es":"En la hoja color hueso, debajo del grabado, hay un número a la izquierda y una frase al centro. ¿Qué dice la frase manuscrita?"},"pista":{"en":"Look at the center of the lower margin, under the dark shadow, it is written in thin handwriting.","es":"Mira al centro del margen inferior, bajo la sombra oscura, está escrita con letra delgada."}},{"pregunta":{"en":"Inside the group, who carries a woven basket on the arm and watches with anguish?","es":"Dentro del grupo, ¿quién lleva una canasta tejida en el brazo y observa con angustia?"},"pista":{"en":"Look to the right of the group, next to the luminous white cloak.","es":"Busca a la derecha del grupo, junto a la capa blanca luminosa."}},{"pregunta":{"en":"What is the most luminous and light shape in the whole scene, which corresponds to a garment?","es":"¿Cuál es la forma más luminosa y clara de toda la escena, que corresponde a una prenda?"},"pista":{"en":"It is the figure seen from behind in the center, standing out against the dark background.","es":"Es la figura vista de espaldas en el centro, destaca sobre el fondo oscuro."}}],"conexiones":["aguafuerte y aguatinta","duelo colectivo e impotencia","infancia en la guerra","contraste de luz y sombra","testimonio civil del siglo XIX","márgenes y leyendas manuscritas","obra de Goya"]},"salas":[],"escrita_por":"muse-wonder-1.0"}