Francisco de Goya

Datos Generales
Cronología
1815
Dimensiones
245 x 353 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Otros títulos:


Inscripciones

31 (print, upper right-hand corner)

1815 / Goya (stamped, bottom right-hand corner)

Historia

See How the ancient Spaniards hunted bulls on horseback in the countryside

Two state proofs have been preserved, one before the aquatint was burnished and the other before the number was added.

The plate is kept at the National Chalcography (nº 364).

Análisis artístico

See How the ancient Spaniards hunted bulls on horseback in the countryside

A dark scene in which a pair of dots stand out in the centre of the composition and in which we see how the young men try to provoke the tame bull by means of a pair of banderillas de fuego. It is thematically related to two other prints of bullfighting and its extensions: They throw dogs at the bull and Dogs at the bull (Tauromaquia C), as both, the banderillas de fuego and the dogs, were methods used with bulls that were tame and therefore very difficult to fight. This was an uncommon practice and seems to have been very popular with the public, who thought that it was a punishment.

We see the bull in a foreshortened position on his back. A pair of smoking banderillas hang from its neck. The smoke is effectively recreated with burnished aquatint and gouache. In front of the bull we see a banderillero preparing to stick a new pair of banderillas into the bull while another companion urges him on with the cape. The rest of the cuadrilla and two picadors, who have finished their work but have remained in the ring as usual, wander around the arena in front of an audience that fills the stands but of which we can only see their silhouettes. The scene is somewhat chaotic, as bullfighting was in those days.

Beruete considers that an accident in the bite around the banderillas on the bull caused the existing stains, which Goya was able to conceal in a very skilful way, with drypoint and burnisher, giving them that smoky effect.

Lafuente Ferrari includes this print among those depicting lances without historical accuracy and points out the differences with respect to his preparatory drawing, also entitled Fire flags, centred above all on the number of figures depicted, which is smaller in the engraving.

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • Boston
    1974
  • 1975
  • Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerte
    Biblioteca Nacional
    Madrid
    1978
    May - June 1978
  •  Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete de
    Casa de la Amistad de Moscú
    Moscow
    1979
    exhibition displayed from January 18th to 31st 1979
  • 1984
  • Madrid
    1987
  • Madrid
    1990
  • Goya grabador
    Fundación Juan March
    Madrid
    1994
    consultant editors Alfonso E. Pérez Sánchez and Julián Gállego, from January 14th to March 20th 1994
  • Goya grabador
    Museo del Grabado Español Contemporáneo
    Marbella
    1996
    from March 8th to May 5th 1996
  • Zaragoza
    1996
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Bilbao
    2012
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
  • Zaragoza
    2017
Bibliografía
  • BERUETE Y MORET, Aureliano
    MadridBlass S.A.
    1918
    pp. 136-137
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 185-206
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 347, cat. 234
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 279, cat. 1212
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    p. 240, cat. 192
  • HOLO, Selma Reuben
    MilwakeeMilwaukee Art Museum
    1986
    p. 27
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 114, cat. 47
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    p. 36
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 356
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 93-95
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    BostonMuseum of Fine Arts Boston Publications
    2014
    p. 171
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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