Who painted Disasters of War: There isn't Time Now?

Disasters of War: There isn't Time Now was painted by Francisco de Goya in 1815.

Where can I see Disasters of War: There isn't Time Now?

Disasters of War: There isn't Time Now is held by Cleveland Museum of Art.

What movement is Disasters of War: There isn't Time Now?

Disasters of War: There isn't Time Now is associated with Romanticism.

Artwork

Disasters of War: There isn't Time Now

Francisco de Goya , 1815

Disasters of War: There isn't Time Now is a print by the Romanticist artist Francisco de Goya. It dates from 1815 and is held in the collection of the Cleveland Museum of Art.

Accession no.: 1998.98
Credit line: John L. Severance Fund

About this work

Overview

Created in 1815, Disasters of War: There isn’t Time Now is a print by the Spanish artist Francisco de Goya. The work is part of the Cleveland Museum of Art’s collection. It presents a night‑time street tableau rendered in dark, smudged tones, conveying a sense of immediacy and disorder.

Subject & Meaning

The scene depicts a crowded urban street where a man in a fur hat brandishes a sword toward a woman in a dark dress who reaches out to restrain him. Around them, figures crouch, a body lies on the ground, and a child hides, suggesting panic and violence. The Spanish inscription “Ya no hay tiempo” underscores an urgent, perhaps fatal, moment.

Technique & Style

Executed as a print, Goya employs stark chiaroscuro and loose, gestural lines to evoke a stormy, dimly lit atmosphere. The composition is densely packed, with overlapping forms that heighten the sense of chaos. The smudged background and exaggerated gestures reflect Goya’s late‑period interest in dramatizing human suffering through graphic means.

History & Provenance

The work was produced during Goya’s later years, a period marked by political turmoil in Spain. It entered the Cleveland Museum of Art’s holdings through acquisition in the 20th century, where it remains on display as part of the museum’s European prints collection.

Context

Part of Goya’s broader series Disasters of War, the print aligns with Romantic tendencies toward emotional intensity and social critique. While the series primarily documents the Peninsular War’s atrocities, this particular image emphasizes personal confrontation and the urgency implied by its title, reflecting the artist’s preoccupation with the human cost of conflict.