Francisco de Goya

Ripping of the rogue with spears, crescent moons, banderillas and other weapons (preparatory drawing)

Clasificación
Ripping of the rogue with spears, crescent moons, banderillas and other weapons (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 181
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
187 x 312 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
(D4295)
Inscripciones

28 (in pencil, lower left corner)

Graveur Almand / Luca [illegible] (on the reverse, in pencil)

Historia

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

This preparatory drawing passed by inheritance in 1828 to Javier Goya, the painter's son, and in 1854 to Mariano Goya y Goicoechea, the artist's grandson. It was subsequently owned by Valentín Carderera (ca. 1861) and Mariano Carderera (1880). In 1886 it was acquired from Mariano Carderera, along with many other drawings by Goya, including almost all the preparatory studies for the Bullfight, by the Directorate General of Public Instruction, and was assigned to the Prado Museum, where it entered on 12 November 1886.

Análisis artístico

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

Preparatory drawing of the print Ripping of the rogue with spears, crescent moons, banderillas and other weapons. If we compare the drawing with the final engraving, we can see how Goya initially chose to introduce a large number of characters into the scene, especially in the background, and then to eliminate them and leave only those he considered most relevant from a plastic point of view and to adequately reflect the intended meaning or intention, emphasising the essentials.

For Gassier, Goya's intention is very clear: he wanted to impress the viewer. Here there is only one figure on the ground, face down, probably wounded by the bull, standing upright in defiance, although in the engraving his coat will be darker. All the people crowding the scene are trying to finish killing the bull, who had previously been wounded by a "gentleman in the arena" who did not manage to finish him off, a task that is reserved for the scoundrels.

Exposiciones
  • Goya. Drawings, Etchings and Lithographs
    Goya. Drawings
    London
    1954
    from June 12th to July 25th 1954
  • Brussels
    1985
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Madrid
    2019
  • Melbourne
    2021
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 192-193
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 164
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 76
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 277, cat. 1175
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p.13-14
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 358-359, cat. 254
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 60-61
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    p. 324, cat. 217
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