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
The Custody Is as Barbarous as the Crime , one of only three irregular plates produced for the Disasters of War series, was not printed and bound into the volume like the other working proofs but was added at the end. The etching features a prisoner crouching with his wrists and ankles restrained. Line in addition to aquatint creates the exceedingly dark atmosphere. Goya pays special attention to the prisoner’s contorted posture, the tangled mess of his hair, and the reflection of dim light on the chains binding his arms.
Be the first to share your thoughts.
Sign in to join the discussion.
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)|Gazette des Beaux-Arts
Francisco de Goya (Spanish, 1746–1828) — Little Prisoner
Goya (Francisco de Goya y Lucientes) — 'If he Is guilty, let
Francisco de Goya (Spanish, 1746–1828) — The Little Prisoner
Goya (Francisco de Goya y Lucientes) — Plate 10 from "The Di
Goya (Francisco de Goya y Lucientes) — Plate 34 from "The Di
Goya (Francisco de Goya y Lucientes) — The Custody of a Pris
Eugène Delacroix — Algerian Jewess
Mariano Fortuny y Marsal — Arab Seated, His Hands Crossed on
Goya (Francisco de Goya y Lucientes) — Plate 15 from "The Di
Charles Émile Jacque — The Pig-Butcher
Goya (Francisco de Goya y Lucientes) — Plate 11 from "The Di