Francisco de Goya

Catching of a Moor in the square (preparatory drawing)

Clasificación
Catching of a Moor in the square (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
189 x 298 mm
Técnica y soporte
Sanguine on laid paper
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
D4389
Inscripciones

9 [reworked](in pencil; recto, lower left-hand corner)

Espagnole chargée de pourvoir aux besoins de l' Armée. Sortie. 36 [2nd support] (in pencil; recto, upper part)

Engraving with slight differences [Under the annotation made in pen] (verso, upper part)

214 (verso, upper left)

Entrée. Ordre Genéraux de Versement [2nd support] (in pen; verso, upper part)

Watermark: [Large St. Andrew's cross with letters "HONIG" between vegetal scrolls with a flower above, and below the letters "J H & Z"].

Historia

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

Javier Goya, Madrid, 1828; Mariano Goya, Madrid, 1854; Valentín Carderera, Madrid, c. 1861; Mariano Carderera, Madrid, 1880; Prado Museum, 1886.

Análisis artístico

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

Preparatory drawing of the print Catching of a Moor in the square depicts a bullfight, which is not without its comicality due to the unusual costumes of the figures.

According to Matilla, Goya refers to the bullring as the theatrical atmosphere of the bullfights; the blurred natural backgrounds here become a real architectural setting with semicircular arches and columns, to which he adds the bullfighting ring. Vaulted architecture is a common feature of the artist's work, a scenic space for tragic events, and the present image therefore has a deeper meaning than the merely festive. Goya attempts to emphasise the vastness of the zaragüelles by means of light effects, making them stand out against the dark background that surrounds them.

Lafuente Ferrari pointed out a certain similarity between the background of this preparatory drawing and a design of the work Transporting the Wounded to the Hospital from the Disasters of War series that was never recorded, which shows arches that form a setting similar to the scene in question, where the human drama of death is depicted.

Bibliografía
  • D'ACHIARDI, Pierre
    Roma D.Anderson: Editeur
    1908
    pp. il. CXII
  • LAFUENTE FERRARI, Enrique
    1946
    p. 191
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 157
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 62
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 277, nº 1164
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    pp. 6, 12
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 344-345, nº 247
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 53-54, [142]
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