MUSEUM
INFORMATION

All exhibition and program information is up-to-date for fall semester 2014. Download our latest Exhibitions and Programs Bulletin here (PDF).

 

Hours:
Wed-Sun 12:00-5:00 pm
Thur - 12:00-8:00 pm
Closed during University breaks and holidays

Main Phone:
302-831-8037

universitymuseums@udel.edu

 

MECHANICAL HALL GALLERY

30 North College Ave.
Newark, DE 19716

Directions

Parking:
Parking for the Mechanical Hall Gallery is in Trabant University Center Garage located between Delaware Avenue and Main St.

Phone:
302-831-8037 (Information)
302-831-8088 (Museum)

 

MINERALOGICAL MUSEUM

255 Academy St.
Newark, DE 19716

Directions

Parking:
Parking for the Mineralogical Museum is in Perkins Garage located on Academy Street.

Phone:
302-831-6557 (Curator)
302-831-8037 (Information)
302-831-4940 (Museum)

 

OLD COLLEGE GALLERY

18 East Main St.
Newark, DE 19716

Directions

Parking:
Parking for the Old College Gallery is in Trabant University Center Garage located between Delaware Avenue and Main St.

Phone:
302-831-8037 (Information)
302-831-6589 (Museum)

 

 

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“ We made the
UD Bucket List!”

OLD COLLEGE GALLERY

Francisco Goya, Yo lo ví (I saw this), ca. 1810-1811. Etching, drypoint, burin, and aquatint. Pomona College Museum of Art.

Francisco Goya, Y no hay remedio (And there is No Remedy), ca. 1811-12. Etching, drypoint, burin, burnisher and aquatint. Pomona College Museum of Art.

Francisco Goya, Lo peor es pedir (The Worst is to Beg), ca. 1812.  Etching, lavis, burnisher and aquatint.  Pomona College Museum of Art.

Francisco Goya, Las resultas (The Results), ca. 1813-4. Etching and aquatint. Pomona College Museum of Art.

Goya’s War: Los Desastres de la Guerra

September 4 – December 8, 2013

One hundred fifty years have passed since the 1863 publication of Los Desastres de la Guerra (The Disasters of War) by the Royal Academy of Fine Arts of San Fernando in Madrid. Its eighty etchings depicting scenes of war, famine, and political commentary had been created half a century earlier by Francisco Goya y Lucientes (1746­–1828).

Living in Madrid throughout the Napoleonic invasion of Spain, Goya undoubtedly heard accounts of the war and atrocities suffered throughout the Iberian Peninsula; he may even have been an eyewitness to the fleeing refugees and the aftermath of battle during a brief trip to Zaragoza in the fall of 1808. Rather than firsthand accounts, Los Desastres de la Guerra present an extended meditation on the tragedy of war in its many aspects, from corpses strewn on the field of battle and scenes of combat and torture to the impact of armed conflict on civilians of all ages. Going beyond the plausible, Goya also created allegorical images referring to the political instability that followed the expulsion of the rey intruso, or intruder king, Joseph Bonaparte. As the series took form, he probably realized that these subjects would appeal to few in a capital decimated by war and enemy occupation; published half a century after its creation, the series was interpreted within a context that Goya could never have imagined, informed by photography of the Crimean War and the Civil War in the United States.

The sequence of the etchings in the published edition follows that of a complete set of pre-publication proofs that Goya gave to the art historian and collector Juan Agustín Ceán Bermúdez by 1819.1  Goya put the etchings in sequence months—and probably years—after making them. In this exhibition, Curator Janis Tomlinson has ordered prints from the first edition to re-construct the internal chronology of the series, or the order in which the images were created, to illustrate the stylistic and thematic evolution of these prints within their broader historical context.

The exhibition is a collaboration of the University Museums, University of Delaware and the Pomona College Museum of Art.  It is curated by Janis Tomlinson, Director, University Museums, and circulated by Pomona College Museum of Art.

Janis Tomlinson is the author of five books on Goya and on painting in Spain that have been translated into seven languages.  She has published numerous articles and reviews and has lectured on Goya in the U.S., and in Europe, South America and Canada.  U.S. Curator for the exhibition, Goya: Images of Women (Museo del Prado, Madrid and National Gallery of Art, Washington), she was also the curatorial consultant for the exhibition Goya at MUNAL in Mexico City. 

Goya’s War: Los Desastres de la Guerra Programs

Wednesday, September 25 ~ 5:30 p.m. 
Curator’s Lecture: Capricho to Fatal Consequences: Goya’s Imagery of War
Janis Tomlinson, Director, University Museums
Gore Hall, Room 116
Sponsored by the Department of Art History

Gallery Reception, Old College Gallery ~ 6 – 8 pm
RSVP: 302-831-8037 or universitymuseums@udel.edu

*Special Gallery Hours on September 25: Noon – 8 pm

Perspectives on Goya
All talks in Old College Gallery.

  • Tuesday, October 8 ~ 12:30 – 1:15 pm
    Jesús Botello, Assistant Professor, Department of Foreign Language and Literatures: Ethics and Pathos in Los Desastres de la Guerra
  • Wednesday, October 23 ~ 12:30 – 1:15 pm
    Troy Richards, Associate Professor, Department of Art
  • Monday, November 11 ~ 12:30 – 1:15 pm
    Jesús Cruz, Professor, Department of History: Historical Perspectives on Los Desastres de la Guerra
  • Thursday, December 5 ~ 12:30 – 1:15 pm
    Janis Tomlinson, Director, University Museums: Reframing Goya’s Desastres de la Guerra
  • University of Delaware   •   Newark, DE 19716   •   USA
    Phone: (302) 831-2792   •   © 2011