Francisco de Goya

Combat of a harnessed carriage with two mules (Bullfighting G)

Clasificación
Combat of a harnessed carriage with two mules (Bullfighting G)
Datos Generales
Cronología
1814 - 1815
Dimensiones
253 x 349 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca, buril y bruñidor
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
02 Oct 2021 / 22 Jun 2023
Inventario
-
Otros títulos:


Inscripciones

G (print, upper right-hand corner)

Historia

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

The print, rejected by Goya and not included in the first edition of the Bullfighting of 1816, was added and published for the first time, along with six other (A-G), in the third edition of the series, published by Eugène Loizelet in Pais in 1876. It was retained in subsequent editions of the Bullfighting .

A state proof is preserved before the letter was inscribed.

The plate of the print is preserved in the National Chalcography (no. 373), with The male value of the famous Pajuelera in Zaragoza engraved on the obverse.

Análisis artístico

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

This engraving depicts a very curious scene: a horse-drawn carriage in the middle of the bullring, which serves as a complement to the bullfighting. Several men, dressed in the fashion of the late 18th century, are riding in the carriage, attempting to spear a bull who is in turn attacking a picador on horseback next to the carriage, who also thrusts his pike at the bull with viciousness, as is evident from the expression on his face, which can be seen perfectly as this is the part of the plate that receives the most light. This circumstance also allows us to see that the bull has stuck the picador's horse with a pitón and that blood is dripping down, an unusual occurrence in the series. In the background of the scene are three figures wearing capes and hats. The composition is delimited by the barrier and the seats in the stands, which are occupied by a variety of people, although the seats are not crowded.

According to Lafuente Ferrari, thanks to an original bullfighting poster still preserved, it has been posible to determine that a bullfight like this one, probably the one that inspired the print, took place in the Aranjuez bullring on 17 June 1797. 

There is a preparatory drawing for this print, also entitled Combat of a harnessed carriage with two mules (Bullfighting G)

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • 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
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Bilbao
    2012
  • Zaragoza
    2017
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 185 y 213
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 357, cat. 243
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 280, cat. 1231
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 124, cat. 59
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 368
  • SANTIAGO PÁEZ, Elena y WILSON-BAREAU, Juliet (comisarias)
    Ydioma universal: Goya en la Biblioteca Nacional
    MadridBiblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg
    1996
    p. 250
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 106-107
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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