Editing Francisco Goya (section)

==Peninsular War (1808–1814)==
The French army invaded Spain in 1808, leading to the [[Peninsular War]] of 1808–1814. The extent of Goya's involvement with the court of the "intruder king", [[Joseph Bonaparte|Joseph I]], the brother of [[Napoleon Bonaparte]], is not known; he painted works for French patrons and sympathisers, but kept neutral during the fighting. After the restoration of the Spanish King [[Ferdinand VII of Spain|Ferdinand VII]] in 1814, Goya denied any involvement with the French. By the time of his wife Josefa's death in 1812, he was painting ''[[The Second of May 1808]]'' and ''[[The Third of May 1808]]'', and preparing the series of etchings later known as ''[[The Disasters of War]]'' (''Los desastres de la guerra''). Ferdinand VII returned to Spain in 1814 but relations with Goya were not cordial. The artist completed portraits of the king for a variety of ministries, but not for the king himself.

Although Goya did not make his intention known when creating ''The Disasters of War'', art historians view them as a visual protest against the violence of the 1808 [[Dos de Mayo Uprising]], the subsequent Peninsular War and the move against liberalism in the aftermath of the [[History of Spain (1810–73)|restoration of the Bourbon monarchy]] in 1814. The scenes are singularly disturbing, sometimes macabre in their depiction of battlefield horror, and represent an outraged conscience in the face of death and destruction.<ref name="Bareau, 45">Wilson-Bareau, 45</ref> 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.<ref name = "Jones 2003">Jones, Jonathan. "[https://www.theguardian.com/culture/2003/mar/31/artsfeatures.turnerprize2003 Look what we did]". ''The Guardian'', 31 March 2003. Retrieved 29 August 2009.</ref>

The first 47 plates in the series focus on incidents from the war and show the consequences of the conflict on individual soldiers and civilians. The middle series (plates 48 to 64) record the effects of the famine that hit Madrid in 1811–12, before the city was liberated from the French. The final 17 reflect the bitter disappointment of liberals when the restored Bourbon monarchy, encouraged by the Catholic hierarchy, rejected the [[Spanish Constitution of 1812]] and opposed both state and religious reform. Since their first publication, Goya's scenes of atrocities, starvation, degradation and humiliation have been described as the "prodigious flowering of rage".<ref name="C175">Connell (2004), 175</ref>

<gallery widths="250" heights="190">
File:El Tres de Mayo, by Francisco de Goya, from Prado thin black margin.jpg|''[[The Third of May 1808]]'', 1814. Oil on canvas, {{cvt|266|×|345|cm|in}}. {{Lang|es|[[Museo del Prado]]|italic=no}}, Madrid
File:El dos de mayo de 1808 en Madrid.jpg|''[[The Second of May 1808]]'', 1814
File:Prado - Los Desastres de la Guerra - No. 04 - Las mugeres dan valor.jpg|Plate 4: ''Las mujeres dan valor'' (''The women are courageous''). This plate depicts a struggle between a group of civilians fighting soldiers.
File:Prado - Los Desastres de la Guerra - No. 05 - Y son fieras.jpg|Plate 5: ''Y son fieras'' (''And they are fierce'' or ''And they fight like wild beasts''). Civilian women fight against soldiers with spears and rocks.
File:Prado - Los Desastres de la Guerra - No. 46 - Esto es malo.jpg|alt=Soldiers in large fur hats, long coats and winter uniforms murder priests by running them through with their long bladed swords.|Plate 46: ''Esto es malo'' (''This is bad''). A monk is killed by French soldiers looting church treasures. A rare sympathetic image of clergy, who were generally shown on the side of oppression and injustice.<ref name="Barnes">Fremont-Barnes, Gregory. "The Napoleonic wars: the Peninsular War 1807–1814". Oxford: Osprey Publishing, 2002. 73. {{ISBN|1-84176-370-5}}</ref>
File:Prado - Los Desastres de la Guerra - No. 47 - Así sucedió.jpg|Plate 47: ''Así sucedió'' (''This is how it happened''). The last print in the first group. Murdered monks lie by French soldiers looting church treasures.
</gallery>

His works from 1814 to 1819 are mostly commissioned portraits, but also include the altarpiece of [[Santa Justa and Santa Rufina]] for the [[Seville Cathedral|Cathedral of Seville]], the print series of ''[[La Tauromaquia]]'' depicting scenes from [[bullfighting]], and probably the etchings of ''[[Los disparates|Los Disparates]]''.{{Citation needed|date=October 2023}}