Francisco de Goya

Two groups of bullfighters run over by a single bull at once

Clasificación
Two groups of bullfighters run over by a single bull at once
Datos Generales
Cronología
1814 - 1816
Dimensiones
245 x 354 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca, buril y bruñidor
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Otros títulos:


Inscripciones

32 (print, upper right-hand corner)

Historia

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

The plate is kept at the National Chalcography (nº 365).

Análisis artístico

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

A fierce scene of fighting between several members of a cuadrilla and a bull, which has already caused the fall and death of two horses and has injured the picador riding one of them and is violently knocking down another horse in the foreground, including the picador who is riding it. In particular, we can see how the bull is thrusting a pitón into the horse's stomach while the picador, still on the horse, in turn thrusts his pike into the bull. There are several labourers in the arena, some of them removing the injured body of the fallen picador and others trying to separate the bull from the horse he is charging and to hold the picador who is about to fall, helping him to pike the bull.

The lighting of the scene is very dramatic because there is only light on the characters. The rest of the square, including the stretches of ground, is darkened. In this way, with these flashes of light, Goya directs our attention to where he wants us to look. However, in the two preparatory drawings for the print, the light is still spread throughout the scene.

For Bagüés this type of tumultuous scene reminds him of the Disasters of War, while for Lafuente Ferrari the print is one of the engravings that narrate incidents or incidents without historical precision and reflects a tragic feeling that would culminate in the series of the Bulls of Bordeaux, in lithographs such as Brave Bull. In his opinion, it also presents a treatment very similar to that of the so-called "unpublished" prints, i.e. those that were not included in the official edition of the Bullfighting.

Glendinning, as in the case of other prints in the series (nos. 18, 19, 24, 26, 28 and 31), interprets the distorted faces of some of the figures as a criticism of those who participate in one way or another in a bullfight. Martínez-Novillo, for his part, relates the engraving to the Bullfighting prints and their extensions that deal with the suerte de varas and its incidents (Nos. 22, 26, 27, 28 and 32, and B), such as the one entitled The hardworking Rendón stinging a bull, from whose luck he died in the bullring in Madrid.

As already mentioned, there are two preparatory drawings of the present print, also entitled Two groups of bullfighters run over by a single bull at once (preparatory drawing 1) and Two groups of bullfighters run over by a single bull at once (preparatory drawing 2)

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • Boston
    1974
  • Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerte
    Biblioteca Nacional
    Madrid
    1978
    May - June 1978
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • 1984
  • Madrid
    1987
  • 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 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
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Bilbao
    2012
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Zaragoza
    2017
Bibliografía
  • ZaragozaTip. del Hospicio
    1926
    p. 37
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 206-207
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 348, cat. 235
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 279, cat. 1214
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    pp. 241-243, cat. 193-195
  • HOFMANN, Werner (ed.)
    Goya, Das Zeitalter de Revolutionen. 1789-1830
    HamburgPrestel-Verlag Münche und Hamburger Kunsthalle
    1980
    p. 293
  • HOLO, Selma Reuben
    MilwakeeMilwaukee Art Museum
    1986
    p. 27
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 115
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    pp. 26 y 35
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 357
  • 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
  • MENA MARQUÉS, Manuela B.
    Goya en tiempos de guerra
    MadridMuseo Nacional del Prado
    2008
    p. 158
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 110
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