Visual indictment of war's horrors, modeled after Spanish insurrection (1808), the resultant Peninsular War and following famine. Miseries of war graphically demonstrated in 83 prints.

Over three centuries, the three artists in this collection--Callot, Goya, and Dix--produced sets of etchings that rendered the experience of war into wrenching detail. Here, their prints are reproduced together, showing the changing techniques of printmaking, as well as the horrifying sameness of war.

In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman’s first “Maus” story about his immigrant family’s survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa’s inaugural work of “atomic bomb manga,” the comic book Ore Wa Mita (“I Saw It”)—a title that alludes to Goya’s famous Disasters of War etchings. Chute explains how the form of comics—its collection of frames—lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.

This book draws on the most recently scholarship by art historians and historians on the context and meaning of Goya s series of eighty aquatint etchings, the Desastres de la Guerra, much of it made available for the first time in English. Goya scholar Janis Tomlinson re-orders the sequence of the posthumously published 1863 edition to illustrates the artist s stylistic evolution as well as the etchings relation to their historical context. Kathleen Stewart Howe discusses the enduring influence of these prints in contemporary art. All eighty etchings of the first edition (1863) are reproduced in full-page, color illustrations."

A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.

Goya corresponded regularly with members of the aristocracy and the monarchy, as well as with friends. His surviving letters reveal a highly emotional man, prepared to state his feelings as passionately to the authorities of a cathedral as to a close friend. His letters make few concessions and are literary works in their own right. --book cover.