I saw it: The invented Realities of Goya's Disasters of War

Selected Bibliography

Baudelaire, Charles. “Some Foreign Caricaturists.” Goya in Perspective. Ed. Fred Licht. New Jersey: Prentice-Hall, 1973. 32-35.

Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton, and Philip Beitchman. New York: Semiotext(e), 1983.

Brown, Jonathan. Painting in Spain: 1500-1700. New Haven: Yale University Press, 1998.

Coderch, Anna Maria and Victor Ieronim Stoichita. Goya: The Last Carnival. London: Reaktion, 1999.

Cuno, James.  “Preface,” Ed. Hilliard T. Goldfarb and Reva Wolf. Fatal Consequences: Callot, Goya, and the Horrors of War. New Hampshire: Hood Museum of Art, 1990. 9-10.

Debord, Guy. Society of the Spectacle. Trans. Fredy Perlman and John Supak. 3rd ed. Detroit: Black & Red: 1983.

Eickel, Nancy, ed. TheSleep of Reason: Reality and Fantasy in the Print Series of Goya. Washington D.C.: The Trust for Museum Exhibitions, 1992.

Eitner, Lorenz. An Outline of 19th Century European Painting: From David through Cezanne: Text and Plates. New York: Harper and Row, 1987. 

Glendinning, Nigel. Goyaand His Critics. New Haven: Yale University Press, 1977.

Goldfarb, Hilliard T. “Callot and the Miseries of War: the Artist, his Intentions and his Context.” Ed. Hilliard T. Goldfarb and Reva Wolf. Fatal Consequences: Callot, Goya, and the Horrors of War. New Hampshire: Hood Museum of Art, 1990. 13-26.

—. “Introduction.” Ed. Hilliard T. Goldfarb and Reva Wolf. Fatal Consequences: Callot, Goya, and the Horrors of War. New Hampshire: Hood Museum of Art, 1990. 11.

—, ed. Piranesi – Goya: Roma fantastica and the Sleep of Reason. Montreal: The Montreal Museum of Fine Arts, 2001.

Goya, Francisco. The Disasters of War. New York: Dover, 1967.

Hall, Stuart, ed. Representation: Cultural Representations and Signifying Practices. London: Sage, 1997.

Harris, Tomás. Goya: Engravings and Lithographs, 2 vols. San Francisco: Alan Wofsy Fine Arts, 1983.

Hughes, Robert. Goya. New York: Alfred A. Knopf, 2003.

Kennedy, Liam. “Framing September 11: Photography After the Fall.” History of Photography 27 (2003): 272–83.

Klingender, Francis. Goya in the Democratic Tradition. London: Sidgwick and Jackson, 1968.

Kozloff, Max. Renderings: Critical Essays on a Century of Modern Art. New York: Simon and Schuster, 1968. 

Lafuente Ferrari, Enrique. Goya, His Complete Etchings, Aquatints, and Lithographs. 3rd ed. London: Thames and Hudson, 1968.

Licht, Fred. Goya: The Origins of Modern Temper in Art. New York: Universe, 1979.

Pérez Sánchez, Alfonso and Eleanor Sayre. Goya and the Spirit of Enlightenment. Boston: Museum of Fine Arts, 1989.

Read, Herbert. “Introduction.” Goya in the Democratic Tradition. Ed. Francis D. Klingender. London: Sidgwick and Jackson, 1968. vii-xii.

Rose-de Viejo, Isadora. Etched on the Memory: The Presence of Rembrandt in the Prints of Goya and Rembrandt. Trans. Lynne Richards. Blaricum, The Netherlands: V+K Pub./Inmerc; Amsterdam: Rembrandt House Museum; London: Lund Humphries; Wappingers Falls, NY: Distributed to the book trade in North America by Antique Collectors’ Club, 2000.

Rosand, David. “Introduction. Capriccio: Goya and a Graphic Tradition.” Janis Tomlinson. Graphic Evolutions: The Print Series of Francisco Goya. New York: Columbia University, 1989.

Sayre, Eleanor. TheChanging Image: Prints by Francisco Goya. Boston: Museum of Fine Arts, 1974.

Sontag, Susan. Regarding the Pain of Others. New York: Picador, 2004.

Tomlinson, Janis. Francisco Goya y Lucientes, 1746-1828. London: Phaidon, 1994.

—. Graphic Evolutions: The Print Series of Francisco Goya. New York: Columbia University Press, 1989.

Vega, Jesusa. “The Dating and Interpretation of Goya’s Disasters of War.” Print Quarterly 11 (1994): 3-17.

Wilson-Bareau, Juliet. Goya’s Prints: The Tomás Harris Collection in the British Museum. 2nd ed. London: British Museum Press, 1996.

Wolf, Reva. “Onlooker, Witness, and Judge in Goya’s Disasters of War.” Ed. Hilliard T. Goldfarb and Reva Wolf. Fatal Consequences: Callot, Goya, and the Horrors of War. New Hampshire: Hood Museum of Art, 1990. 37-52.


Last Updated: September 2, 2004