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About This Artwork
Three Men Carrying a Wounded Soldier, from the Images of Spain, Album F, 1812/20
Brush with brown ink and brown and gray wash over traces of black chalk, on cream laid paper
202 x 141 mm
Clarence Buckingham Collection, 1960.313
Prints and Drawings
Not on Display
Goya’s bold watercolor is very far from the emphasis on pure line of the restrained Classicism that characterizes many of the works from this period. Goya applied his washes with an abandon that verged on the abstract. Indeed, it can be difficult to separate the knot of individual figures, three of them carrying a fourth, in a scene that recalls images of the Deposition of Christ. Probably produced during the Spanish War of Independence against Napoleonic France (1808–14), Goya’s drawing unflinchingly treats the senseless violence and social chaos that defined the period.
Stockholm, Sweden, Nationalmuseum, "Stora Spanska Maestare," December 12, 1959-March 13, 1960, cat. 291.
New York, Wildenstein and Company, "Master Drawings from The Art Institute of Chicago," October 17-November 30, 1963, n.p., cat. 123.
Frankfurt-am-Main, Staedtische Galerie im Staedelschen Kunstinstitut, "Goya: Zeichnungen und Druckgraphik" February 13-April 5, 1981, cat. L72.
The Art Institute of Chicago, "Great Drawings from The Art Institute of Chicago: The Harold Joachim Years 1958-1983," July 24-September 30, 1985, pp. 116-117, cat. 51 (ill.), cat. by Martha Tedeschi.
The Art Institute of Chicago, "Gods and (Super)heroes: Drawing in an Age of Revolution", November 16, 2017 - April 1, 2018.
Paul Lafond, Goya (Paris, 1902), no. 48.
Enrico Crispolti, "Disegni inediti di Goya," Commentari, 9 (April-June 1958).
Eleanor A. Sayre, "An Old Man Writing: A Study of Goya's Albums," Bulletin of the Museum of Fine Arts, Boston, LVI (1958), pp. 116-36.
Harold Joachim, "Notes on Some Recently Acquired Drawings," Art Institute of Chicago Quarterly, LII (1959), pp. 25-27.
The Art Quarterly, XXIII (Autumn 1960), p. 308 (ill.).
Betsy G. Fryberger, "Dream and Nightmare," The Art Institute of Chicago Quarterly, 56 (Winter 1962-1963), p. 67.
Jose Gudiol, Goya, 1746-1828: Biography, Analytical Study and Catalogue of his Paintings, I (Barcelona, 1971), no. 221 (ill.).
Pierre Gassier and Juliet Wilson, The Life and Complete Work of Francisco Goya (New York, 1971), no. 1473 (ill.).
Pierre Gassier, "Une source inedite de dessins de Goya en France aux XIXme siecle," Gazette des Beaux-Arts (July-August 1972), pp. 278-320.
Pierre Gassier, Frencisco Goya Drawings: The Complete Albums (New York, 1973), p. 486.
Harold Joachim, Italian Drawings of the 18th and 19th Centuries and Spanish Drawings of the 17th through 19th Centuries (Chicago, 1980), no. 3B11.
Probably by descent to the artist's son, Javier Goya, Madrid [according to Sayre 1958]. Mariano Goya, Madrid [according to Joachim 1979]. Valentin Carderera, Madrid (?)[according to Joachim 1979]. Paul Lebas, Paris [according to Gassier 1973]. Sold, Hôtel Drouot, Paris, April 3, 1877, lot 32, to Emile Calando [according to a letter from Pierre Gassier dated October 16, 1981 in curatorial file]; sold, Hôtel Drouot, Paris, December 11-12, 1899, lot 69. Paul Meurice (died 1906), Paris [according to Gassier 1973]; sold, Hôtel Drouot, Paris, May 25, 1906. Sold, Galerie Jean Charpentier, Paris, April 9, 1957, lot 61, to Hans Maximilian Calmann, London [according to annotated sale cat.]; sold to the Art Institute, 1960.