page_title: The Disasters of War
section_title: Historical background
hierarchical_section_title: The Disasters of War / Historical background
caption_attribution_description: English: The Duke of Wellington
context_page_description: The Disasters of War is a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya. Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–1814 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath. He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons.
context_section_description: Napoleon I of France declared himself First Consul of the French Republic on 18 February 1799, and was crowned Emperor in 1804. Because Spain controlled access to the Mediterranean, it was politically and strategically important to the French. The reigning Spanish sovereign, Charles IV, was internationally regarded as ineffectual, and his position at the time was threatened by his pro-British heir, Crown Prince Ferdinand. Napoleon took advantage of Charles's weak standing by suggesting the two nations conquer Portugal—the spoils to be divided equally between France, Spain and the Spanish Prime Minister, Manuel de Godoy, who would take the title "Prince of the Algarve". Seduced by the French offer, Godoy accepted, failing to detect the true motivations of either Napoleon or Ferdinand, who both intended to use the invasion as a ploy, to seize power in Spain.
  Under the guise of reinforcing the Spanish armies, 25,000 French troops entered Spain unopposed in November 1807. Even when their intentions became clear the following February, the occupying forces faced little resistance besides isolated actions in disconnected areas. In 1808, a popular uprising—incited by Ferdinand's supporters—saw Godoy captured and left Charles with no choice but to abdicate; he did so on 19 March 1808, allowing his son to ascend the throne as Ferdinand VII. Ferdinand had been seeking French patronage, but Napoleon and his principal commander, Marshal Joachim Murat, believed that Spain would benefit from rulers who were more progressive and competent than the Bourbons. They decided that Napoleon's brother, Joseph Bonaparte, should be king. Under a pretext of mediation, Napoleon summoned Charles and Ferdinand to Bayonne, France, where they were coerced into relinquishing their rights to the throne in favour of Joseph.
  Like other Spanish liberals, Goya was left in a difficult position after the French invasion. He had supported the initial aims of the French Revolution, and hoped its ideals would help liberate Spain from feudalism to become a secular, democratic political system. There were two conflicts being fought in Spain: the resistance against the French threat, and a domestic struggle between the ideals of liberal modernisation and the pre-political incumbent ruling class. The latter divide became more pronounced—and the differences far more entrenched—following the eventual withdrawal of the French.
  Several of Goya's friends, including the poets Juan Meléndez Valdés and Leandro Fernández de Moratín, were overt afrancesados: the supporters (or collaborators, in the view of many) of Joseph Bonaparte. He maintained his position as court painter, for which an oath of loyalty to Joseph was necessary. However, Goya had an instinctive dislike of authority, and witnessed first-hand the subjugation of his countrymen by French troops. During these years he painted little aside from portraits of figures from all parties, including an allegorical painting of Joseph Bonaparte in 1810, Wellington from 1812 to 1814, and French and Spanish generals. Meanwhile, Goya was working on drawings that would form the basis for The Disasters of War. He visited many battle sites around Madrid to witness the Spanish resistance. The final plates are testament to what he described as "el desmembramiento d'España"—the dismemberment of Spain.
caption: Francisco Goya, Portrait of the Duke of Wellington, 1812–14.[14] During the Peninsular War, the British, led by Wellington, led a proxy war against Napoleon's marshals and the Imperial French Army.
exif: {"Image Orientation": "Horizontal (normal)", "Image XResolution": "72", "Image YResolution": "72", "Image ResolutionUnit": "Pixels/Inch", "Image Software": "GIMP 2.6.11", "Image DateTime": "2012:03:16 19:34:56", "Image ExifOffset": "146", "Thumbnail Compression": "JPEG (old-style)", "Thumbnail XResolution": "72", "Thumbnail YResolution": "72", "Thumbnail ResolutionUnit": "Pixels/Inch", "Thumbnail JPEGInterchangeFormat": "282", "Thumbnail JPEGInterchangeFormatLength": "4144", "EXIF ColorSpace": "sRGB", "EXIF ExifImageWidth": "3406", "EXIF ExifImageLength": "4226"}