Linear techniques: Etching

The primary means Goya used to create linear work in his prints was etching, a process that involves drawing on a copperplate with a needle. A range of etching needles, sharpened to varying degrees, would have helped him manipulate the width and depth of lines scratched through the ground into the surface of the copperplate. The process was designed to expose the underlying copper so it would be vulnerable to the action of the acid, which would bite into the surface, accentuating any lines that had been created with the needle.

Acid was applied by either pouring acid over the face of the plate as it stood slightly angled in a tray or making a wall of ‘banking’ or ‘bordering’ wax (a combination of wax and resin) around the perimeter of the plate, turning the plate into a bath the acid was poured into³⁴ (See figs. 7 and 8). The background tone in No hay quien nos desate? (Is there no one to untie us?) is not uniform with the right side of the print appearing darker than the left. This effect is likely to have been achieved by using the ‘banking’ or ‘bordering’ wax method of applying acid, with Goya tilting the plate so the acid gathered on the upper right corner, biting this area for longer. (See fig. 26).

Abraham BOSSE<br/>
<em>Treatise on the ways of engraving on copper...</em> 1701; 1645 {first published} <!-- (page) --><br />
<em>(Traité des manieres de graver en taille-douce...)</em><br />
illustrated book: letterpress text and etched illustrations<br />
<br />
National Gallery of Victoria, Melbourne<br />
Purchased, 1962<br />
1048-5<br />

<!--23379--> — Fig 7: Abraham BOSSE, *Treatise on the ways of engraving on copper,* (1701; 1645 first published), showing pouring acid over the plate

A copperplate covered with hardground and fitted with ‘bordering’ or ‘banking’ wax. Collection of NGV Paper Conservation materials archive.<br/> — Fig 8: A copperplate covered with hardground and fitted with ‘bordering’ or ‘banking’ wax. Collection of NGV Paper Conservation materials archive.

When examining Ni más ni menos (Neither more nor less), etched lines in the donkey’s ears can be identified by studying the shape of their ends which are blunt rather than pointed. (See figs. 9 and 10).

Francisco GOYA y Lucientes<br/>
<em>Neither more nor less</em> (1797-1798) <!-- (recto) --><br />
<em>(Ni más ni menos)</em><br />
plate 41 from <i>Los Caprichos (The Caprices)</i> series (1797–98), published 1799<br />
etching, burnished aquatint, drypoint and burin printed in sepia ink<br />
18.0 x 13.0 cm (image) 19.8 x 15.0 cm (plate) 23.6 x 17.6 cm (sheet)<br />
1st edition<br />
National Gallery of Victoria, Melbourne<br />
Felton Bequest, 1976<br />
P1.41-1976<br />

<!--25120--> — Fig. 9: Francisco GOYA, Ni más ni menos, (Neither more nor less), 1797-1798; published 1799, plate 41 from Los Caprichos (The Caprices) series

Francisco GOYA <em>Ni más ni menos, (Neither more nor less)</em> 1797-1798; published 1799, plate 41 from <em>Los Caprichos (The Caprices)</em> series. Photomicrograph detail of etched lines in donkey’s ear.<br/> — Fig 10: Francisco GOYA, Ni más ni menos, (Neither more nor less), 1797-1798; published 1799, plate 41 from Los Caprichos (The Caprices) series. Photomicrograph detail of etched lines in donkey’s ear.

When working on the plate for Origen de los arpones ó banderillas, (Origin of the harpoons or banderillas), Goya exposed the etched lines of the matador’s jacket and areas of the bull for an extended period, causing some of the lines to be eaten away completely. (See figs. 11 and 12). This is referred to as over-biting and it creates a wide, textured area that can hold ink. It is often unintentional and is caused by accidentally exposing the plate to acid for too long or using strong acid that is hard to control. Several of Goya’s plates may have been damaged irretrievably by over-biting and these are only known from rare or unique working proofs.³⁴

Francisco GOYA y Lucientes<br/>
<em>Origin of the harpoons or banderillas</em> (c. 1815-1816); 1816 {published} <!-- (recto) --><br />
<em>(Origen de los arpones ó banderillas)</em><br />
plate 7 from <i>La Tauromaquia (The Art of Bullfighting)</i> series (c. 1815–16), published 1816<br />
etching, burnished aquatint and burin<br />
20.1 x 31.5 cm (image) 24.4 x 35.0 cm (plate) 26.7 x 36.4 cm (sheet)<br />
1st edition<br />
National Gallery of Victoria, Melbourne<br />
Presented by the National Art-Collections Fund, 1919<br />
1998.255.7<br />

<!--67820--> — Fig. 11: Origen de los arpones ó banderillas, (Origin of the harpoons or banderillas), c. 1815-1816; published 1816, plate 7 from La Tauromaquia (The art of bullfighting) series.

Francisco GOYA <em>Origen de los arpones ó banderillas, (Origin of the harpoons or banderillas)</em> c. 1815-1816; published 1816, plate 7 from <em>La Tauromaquia (The art of bullfighting)</em> series. Photomicrograph detail of etched lines on the bull’s head being eaten away by acid.<br/> — Fig 12: Francisco GOYA, Origen de los arpones ó banderillas, (Origin of the harpoons or banderillas), c. 1815-1816; published 1816, plate 7 from La Tauromaquia (The art of bullfighting) series. Photomicrograph detail of etched lines on the bull’s head being eaten away by acid.

34.

P.G. Hamerton, op.cit., p.5. The former technique, which required the back and edges of the plate to be coated with varnish or ground, so it was protected from the acid, was developed by Abraham Bosse. Arthur M. Hind (1963), A History of Engraving and Etching , p.7

35.

Tomas Harris, op.cit., p.24