Francisco José de Goya y Lucientes
Not currently on view
In the collection of Art Institute of Chicago, Chicago · as of July 2026
FROM THE ART INSTITUTE OF CHICAGO’S CATALOG
Though not the last plate of the series, this print finalizes its central themes in a profound manner, claiming that truth itself is dead. Here, personified by a shining corpse about to be buried, truth connotes constitutional liberty. Justice is featured at the right, clasping her scales in her left hand. She covers her face, perhaps weeping, as if she cannot bear the scene before her. By ending the series on this note of despair, Francisco de Goya brought an answer to the question of what must come to pass ( plate one )—the final blow of war is that truth is dead and justice despondent.
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The Hanged Monk
Friar Pedro Wrests the Gun from El Maragato
Friar Pedro Shoots El Maragato as His Horse Runs Off
Portrait of Isidoro Maiquez
Winter Scene
Friar Pedro Offers Shoes to El Maragato and Prepares to Push
Friar Pedro Clubs El Maragato with the Butt of the Gun
Friar Pedro Binds El Maragato with a Rope
Goya (Francisco de Goya y Lucientes) — Plate 79 from "The Di
Goya (Francisco de Goya y Lucientes) — 'Clear Folly' from t
Goya (Francisco de Goya y Lucientes) — 'General Folly' from
Goya (Francisco de Goya y Lucientes) — Plate 42 from "The Di
Goya (Francisco de Goya y Lucientes) — 'The Exhortations' fr
Goya (Francisco de Goya y Lucientes) — 'Clear Folly' from th
Goya (Francisco de Goya y Lucientes) — Plate 11 from "The Di
Goya (Francisco de Goya y Lucientes) — Plate 10 from "The Di
Francisco de Goya (Spanish, 1746–1828) — The Horrors of War:
Goya (Francisco de Goya y Lucientes) — Plate 10 from "The Di
Goya (Francisco de Goya y Lucientes) — Plate 26 from "The D
Goya (Francisco de Goya y Lucientes) — Plate 21 from "The Di