Widely acknowledged as a major turning point in the history of visual depictions of war, Francisco de Goya's renowned print series The Disasters of War remains a touchstone for serious engagement with the violence of war and the questions raised by its artistic representation. The Art of Witnessing provides a new account of Goya's print series by taking readers through the forty-seven prints he dedicated to the violence of war. Drawing on facets of Goya's artistry rarely considered together before, the book challenges the notion that documentary realism and historical testimony were his primary aims. Michael Iarocci argues that while the depiction of war's atrocities was central to Goya's project, the lasting power of the print series stems from the artist's complex moral and aesthetic meditations on the subject. Making novel contributions to longstanding debates about historical memory, testimony, and the representation of violence, The Art of Witnessing tells a new story, print by print, to highlight the ways in which Goya's masterpiece extends far beyond conventional understandings of visual testimony.

Widely acknowledged as a major turning point in the history of visual depictions of war, Francisco de Goya’s renowned print series The Disasters of War remains a touchstone for serious engagement with the violence of war and the questions raised by its artistic representation. The Art of Witnessing provides a new account of Goya’s print series by taking readers through the forty-seven prints he dedicated to the violence of war. Drawing on facets of Goya’s artistry rarely considered together before, the book challenges the notion that documentary realism and historical testimony were his primary aims. Michael Iarocci argues that while the depiction of war’s atrocities was central to Goya’s project, the lasting power of the print series stems from the artist’s complex moral and aesthetic meditations on the subject. Making novel contributions to longstanding debates about historical memory, testimony, and the representation of violence, The Art of Witnessing tells a new story, print by print, to highlight the ways in which Goya’s masterpiece extends far beyond conventional understandings of visual testimony.

Michael Iarocci traces the ways in which Spain went from being central to European history and identity during the early modern period to being marginalized and displaced by England, France, and Germany during the Romantic period. He points out that it has long been an unspoken assumption tainting much of literary criticism that Spain did not have a strong Romantic movement even though Spain itself had come to be viewed by the "new" Europe as the location of all that was romantic.
Through a close study of Cadalso, Saavedra, and Larra, Iarocci argues that Spanish writers were intensely concerned with the same issues taken up by more famous Romantics and that the ways in which they address these issues provides us with a richer notion, not only of Spain, but of all of Europe.

Michael Iarocci traces the ways in which Spain went from being central to European history and identity during the early modern period to being marginalized and displaced by England, France, and Germany during the Romantic period. He points out that it has long been an unspoken assumption tainting much of literary criticism that Spain did not have a strong Romantic movement even though Spain itself had come to be viewed by the "new" Europe as the location of all that was romantic.
Through a close study of Cadalso, Saavedra, and Larra, Iarocci argues that Spanish writers were intensely concerned with the same issues taken up by more famous Romantics and that the ways in which they address these issues provides us with a richer notion, not only of Spain, but of all of Europe.