- Cronología
- 1814 - 1816
- Dimensiones
- 247 x 355 mm
- Técnica y soporte
- Aguafuerte, aguatinta, punta seca y buril
- Reconocimiento de la autoría de Goya
- Documented work
- Ficha: realización/revisión
- 01 Oct 2021 / 22 Jun 2023
- Inventario
- -
- Otros títulos:
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14 (print, upper right-hand corner)
Goya (print, bottom left)
See How the ancient Spaniards hunted bulls on horseback in the countryside
There is a condition test carried out before applying the aquatint and the engraving.
The plate is kept at the National Chalcography (nº 347).
See How the ancient Spaniards hunted bulls on horseback in the countryside
With this engraving Goya began his evocation of well-known bullfighting figures, taking as his starting point texts narrating their exploits. In this case, the scene depicts a duel between the bull and a man on foot, known as the student of Falces, who faces the bull without removing his cape, which covers him completely. If in the previous scenes the fight was between the horse and the bull, here the fight is between the man and the animal.
One again, the composition is repeated. In the center of the scene, completely delimited, we find the main couple, made up of the bullfighter and the bull, while in the background we see, or intuit, the audience attending the bullfight. It is striking how the lighting emphasises the animal, as it is mainly focused on him.
The scene is very dynamic, both for the bull and for the student, whose broken movements are more marked by the cape. In fact, he seems to have been depicted performing a cut on the bull. According to the chroniclers of the time, he made the bull surrender several times without leaving the enclosure marked out by himself in the arena and without even unbuttoning his cape.
Martínez-Novillo includes this engraving among those that deal with particular suertes, featuring bullfighters from Navarre and Aragon.
In these scenes, according to Holo, Goya reflects a wide variety of situations depicting renowned bullfighters, animal abuse and often irrational behaviour, all in the light of the Enlightenmen.
Lafuente Ferrari highlights both this print and the one immediately before it, entitled A Spanish Gentleman in the Bullring breaking the "rejoncillos" without the help of the pimps, as well as the later one, entitled The Famous Martincho putting flagpoles at the break, for their treatment of light and space within the Bullfighting series.
There is a preparatory drawing for this print, also entitled The very dexterous student from Falces, wearing a mask, teases the bull with his "quiebros".
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Grabados y dibujos de Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1946catalogue Elena Páez Ríos
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Boston1974
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1975
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Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerteBiblioteca NacionalMadrid1978May - June 1978
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Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete deCasa de la Amistad de MoscúMoscow1979exhibition displayed from January 18th to 31st 1979
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1984
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Madrid1987
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Madrid1990
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Goya grabadorFundación Juan MarchMadrid1994consultant editors Alfonso E. Pérez Sánchez and Julián Gállego, from January 14th to March 20th 1994
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Goya grabadorMuseo del Grabado Español ContemporáneoMarbella1996from March 8th to May 5th 1996
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Zaragoza1996
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Schlaf der Vernunft. Original radierungen von Francisco de GoyaMunich2000
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Madrid2002
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Madrid2002
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Goya en tiempos de guerraMuseo Nacional del PradoMadrid2008consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008cat. 150
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Bilbao2012
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Zaragoza2017
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1946pp. 177-216, espec. pp. 185 y 194-195
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1961pp. 120-127
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OxfordBruno Cassirer1964vol. II, 1964, p. 328, cat. 217
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 278, cat. 1178
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MilwakeeMilwaukee Art Museum1986pp. 23-24
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Goya, toros y torerosMadridMinisterio de Cultura, Comunidad de Madrid1990p. 97, cat. 28
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MadridCaser-Turner1992p. 31
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996cat. 335
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MadridMuseo Nacional del Prado2001pp. 63-65
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MadridMuseo Nacional del Prado y Ediciones El Viso2008pp. 424-425, cat. 150
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 186-201