Francisco de Goya

Cid Campeador spearing another bull

Clasificación
Cid Campeador spearing another bull
Datos Generales
Cronología
1814 - 1816
Dimensiones
249 x 351 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones

11  (print, upper right-hand corner)

Goya (vertical, printed, lower right corner)

Historia

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

A state proof, made before the aquatint was applied, has been preserved.


The copperplate is conserved in the National Chalcography (no. 344) and has The death of Pepe Hillo ( Bullfighting E) engraved on the reverse.

Análisis artístico

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

Another scene from the history of bullfighting, in this case the bullfighting of historical figures. We see Cid, mounted on his horse, thrusting his lance into the bull, which is pierced by the spear, the tip of which is sticking out from under the animal. In this case, as in the preceding print, the scene is not located in a specific place either, as no clues are given as to where it might take place. The work belongs to the subgroup devoted to the origins and chivalrous nature of bullfighting on horseback (nos. 9-11 and 13).

It has been pointed out that the Cid's costume is anachronistic, and it has generally been concluded that Goya's aim was to relate the event from his personal point of view, not to present the facts in an absolutely truthful manner. In relation to this, it is known that in the royal functions in the Plaza Mayor in Madrid, the bullfighters used to dress in old-fashioned costumes and that for the spectators these old-fashioned costumes were considered to be the authentic costumes of the knights.

This and the other two scenes of chivalrous horsemen with which it forms a subgroup, Charles V lancing a bull in the bullring in Valladolid and A Spanish knight in the bullring breaking small lances without the help of the pimps, are notable for their movement, each of them having been depicted from a different point of view.

Due to its composition and subject matter, the print is also related to another in the series, The spirited Moor Gazul is the first to lance bulls in rule, although here Cid is depicted as a more skilled knight than the Moor Gazul, as he holds the lance with only one hand and not with two as the Moor Gazul does.

There are two preparatory drawings of the present print, also entitled Cid Campeador lancing another bull, one of which has the scene depicted in the opposite direction to what will eventually be done in the engraving.

Ceán Bermúdez had placed the print after the six dedicated to the Moors and before number 10, which deals with Charles V. However, Goya did not accept this and decided to leave it in the position and order he had initially fixed, although this made the series incoherent from a chronological point of view, as the Cid was a character who came much earlier in time than Charles V.

Conservación

The bottom of the copper plate has suffered a great deal of damage, although the part of the bull has been well preserved, where the burnisher's work can be seen.

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • Boston
    1974
  • 1975
  • 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
  • Zaragoza
    1996
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Bilbao
    2012
  • Zaragoza
    2017
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 185 y 192
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 325, cat. 214
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 277, cat. 1171
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 94, cat. 25
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    pp. 30 y 39
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 331
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 58-60
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 105
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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