Francisco de Goya

Two groups of bullfighters being run over at once by a single bull (preparatory drawing 1).

Clasificación
Two groups of bullfighters being run over at once by a single bull (preparatory drawing 1).
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
191 x 294 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
03 Oct 2021 / 22 Jun 2023
Inventario
(D4317)
Otros títulos:


Inscripciones

6 (in pencil, lower left-hand corner)

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.

First of the two preparatory drawings for the print Two groups of bullfighters being run over at once by a single bull The present preparatory study, which focuses exclusively on the central group of the future print, is characterised by its great precision and detail. In it we see the bull charging a horse with the picador on top of it, who is thrusting his pike into the bull's neck. Between the two contenders, contrasting in their posture and lighting - the horse receives more light than the bull - a fierce fight is taking place. Behind the two fighting animals we can see a series of figures, probably labourers, who are trying to separate the bull from the horse, as the bull has a piton stuck in the equine's belly. In the corner on the left, in the foreground, another picador's horse is lying on the ground with its guts spilled after a previous attack by the bull. In the background, the barrier is indicated in summary form, unlike what Goya would do in the second preparatory drawing and in the definitive engraving.

On the back of the sheet there is a slight hint of a horse in sanguine and traces of sanguine in contact with other drawings.

Exposiciones
  • Boston
    1974
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Goya: toros y toreros
    Espace Van Gogh
    Arles
    1990
    displayed also at Academia de Bellas Artes de San Fernando, Madrid, consultant editor Pierre Gassier.
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 206-207
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    cat. 183
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p.138
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 280, cat. 1216
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 17
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    pp. 241-243, cat. 193-195
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 400-401, cat. 275
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 95-97
  • MATILLA, José Manuel
    MadridMuseo Nacional del Prado y Ediciones El Viso
    2008
    pp. 437-439, cat. 157-158
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