| rdfs:comment
| - Los prisioneros es una serie de tres estampas al aguafuerte de Francisco de Goya, que no están fechadas pero se creen realizadas entre 1810 y 1815. Sus títulos hacen referencia al tema ilustrado de la crítica a la tortura judicial: , y .
* Tan bárbara la seguridad como el delito, también llamado Pequeño prisionero
* La seguridad de un reo no exige tormento.
* Si es delincuente que muera presto. (es)
- The Prisoners is a series of three etchings by Francisco de Goya, depicting imprisoned men with indistinct faces, bound with leg irons in stress positions. The prints are not dated, but they are believed to have been made between 1810 and 1815, around the time Goya started his print series The Disasters of War. Political considerations made it impossible for Goya to publish the prints during his lifetime.
* Tan bárbara la seguridad como el delito ("The custody is as barbarous as the crime")
* La seguridad de un reo no exige tormento ("The custody of a criminal does not call for torture")
*
*
* (en)
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| has abstract
| - Los prisioneros es una serie de tres estampas al aguafuerte de Francisco de Goya, que no están fechadas pero se creen realizadas entre 1810 y 1815. Sus títulos hacen referencia al tema ilustrado de la crítica a la tortura judicial: , y . Se las considera o bien precedentes o bien culminación de la serie Los desastres de la guerra. Esta deducción se debe a que ejemplares de estos tres grabados, junto con uno de la estampa titulada (realizada entre 1810 y 1818), formaban parte de un álbum de Los desastres de la guerra que poseyó Ceán Bermúdez, y que actualmente se conserva en el British Museum de Londres. Los tres grabados de los prisioneros no se encuadernaron con los demás, sino que se pegaron. Los títulos de los tres prisioneros constan escritos a lápiz por el propio Goya en los ejemplares londinenses. El primero de los grabados se conoce también como Pequeño prisionero por su formato menor a los otros dos. Aunque están asociados a Los desastres, de hecho no pertenecen a tal serie ni por formato (vertical, 110 x 85 o 117 x 85 mm -la huella- 250 x 190 mm -el papel-) ni por estilo; y se las ha considerado como antecedentes de los que realizó en Burdeos. En cuanto a la técnica del trabajo al aguafuerte se aprecia similar a la de los Desastres titulados Estragos de la guerra (nº 30) y (nº 15), lo que ha permitido datarlos en fechas similares.
* Tan bárbara la seguridad como el delito, también llamado Pequeño prisionero
* La seguridad de un reo no exige tormento.
* Si es delincuente que muera presto. (es)
- The Prisoners is a series of three etchings by Francisco de Goya, depicting imprisoned men with indistinct faces, bound with leg irons in stress positions. The prints are not dated, but they are believed to have been made between 1810 and 1815, around the time Goya started his print series The Disasters of War. Political considerations made it impossible for Goya to publish the prints during his lifetime. Although they do not share the format, paper, or style of The Disasters of War, similarities of the etching technique date them to a similar period. Copies of the three engravings, together with a fourth Goya print The Colossus were kept together in an album of working impressions of The Disasters of War owned by Goya's friend Juan Agustín Ceán Bermúdez, with the three prints of The Prisoners prints glued in rather than bound with the others. After Ceán Bermúdez died in 1829, the album was later in the collection of Tomás Harris and since 1975 it has been held by the British Museum in London. These prints have titles added by Goya himself in pencil, but individual prints are sometimes known as The Little Prisoner. Goya's titles for the three etchings are criticisms of judicial torture. Tan bárbara la seguridad como el delito ("The custody is as barbarous as the crime") shows a prisoner in ragged clothes with his hair and beard overgrown, shackled to heavy chains in a squatting position, with his hands clasped as if begging or praying. La seguridad del reo no exige tormento ("The custody of a criminal does not call for torture") shows a man chained in an unnatural diagonal position across the frame, beside a wall with a grate to the right. He is bent double and leaning to the left, with his hands bound behind his back, and only his heels resting on the floor. His tattered trousers are torn off above the knee. Si es delincuente que muera presto ("If he is guilty, let him die quickly") shows a man slumped forward to the right of an arched opening. A collar around his neck is held up by a chain, and his hands are chained behind his back, but his feet are held forward by heavy irons.
* Tan bárbara la seguridad como el delito ("The custody is as barbarous as the crime")
* La seguridad de un reo no exige tormento ("The custody of a criminal does not call for torture")
* Si es delincuente que muera presto ("If he is guilty, let him die quickly") The Museo del Prado in Madrid holds three of Goya's ink and gouache preparatory drawings (a chained prisoner viewed from the front, a chained prisoner in profile, and a prisoner chained in a seated position), with others in various other museums, including the Museum of Fine Arts, Boston and the Musée Bonnat in Bayonne. Goya may have drawn some inspiration from earlier engravings of prisons, including Piranesi's Carceri d'invenzione (Imaginary Prisons).
* Goya, The Colossus, c.1818
* Silueta de prisionero encadenado de frente, Prado
* Prisionero encadenado, sentado de perfil a la izquierda, Prado
* Prisionero encadenado, sentado, Prado
* Ink wash drawing of a chained prisoner, in the Musée Bonnat, Bayonne (en)
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