Francisco de Goya

The very skilful student from Falces, wearing a bullfighter's cape, teases the bull with his breaks (preparatory drawing).

Clasificación
The very skilful student from Falces, wearing a bullfighter's cape, teases the bull with his breaks (preparatory drawing).
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
174 x 295 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
(D4299)
Inscripciones

7 (in pencil, bottom right-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.

Preparatory drawing of the print The very skilful student from Falces, wearing a bullfighter's cape, teases the bull with his breaks. This preparatory study, excellently executed and very close to the final print, shows the famous student from Falces, no doubt a nickname, in action. The drawing is notable for its high quality, especially in the depiction of the bull in full movement, although its composition is rather simple. As he would eventually do in the print, Goya concentrates his attention on the central area of the scene, on the student and the bull, lightly sketching the background, which, as in the engraving, receives little attention.

The silhouette of the student has a particular grace in contrast to the bull and its rotundity. Goya adds dynamism to the scene by giving movement to the cape that covers the figure completely. The student's feet show a regret, no doubt in search of a better balance in his posture.

The light is somewhat different from that of the print, since here the lower left corner of the scene is darkened and in the engraving Goya would lighten both the leg of the main figure and the upper part of the bull.

Exposiciones
  • Goya. Exposition de l’oeuvre gravé, de peintures, de tapisseries et de cent dix dessins du Musée du
    Bibliothèque nationale de France
    París
    1935
  • Goya (1746-1828). Peintures-Dessins-Gravures
    Centre Cultural du Marais
    París
    1979
    consultant editors Jacqueline et Maurice Guillard
  • Madrid
    2002
  • Madrid
    2005
  • Madrid
    2019
  • Melbourne
    2021
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 185 y 194-195
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 166
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 83
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1179
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 14
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 362-363, cat. 256
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 187-188
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 63-65
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    pp. 218-219
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