Francisco de Goya

The hard-working Rendón stinging a bull whose fate killed him in the bullring in Madrid.

Clasificación
The hard-working Rendón stinging a bull whose fate killed him in the bullring in Madrid.
Datos Generales
Cronología
1814 - 1816
Dimensiones
250 x 352 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Otros títulos:


Inscripciones

28 ((print, upper right-hand corner)

Goya(print, under right-hand corner)

Historia

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

A state proof of this print, made before Goya engraved the serial number on the plate, is in the Dutuit Collection, Musée du Petit Palais, Paris (Dut. 5393).

The plate is in the National Chalcography (no. 361).

Análisis artístico

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

This picture narrates an episode of a mishap in the suerte de varas. In this case we see how the picador, on the back of his horse, is driving the pike into the bull, while the bull has thrown himself at the equine's neck and has one of his horns inside it. In addition, there are a series of peons who, with capes, urge the bull to break away, while another picador observes the scene and waits for the best moment to finish the job. The picador in the foreground, Rendón, whose chest almost touches the other side of the bull, is holding the stick tightly and the rest of the bullfighters are nervously taking the fight. It is a harsh scene of violence and a great deal of movement, which is conveyed not only through the figures in the foreground but also through the secondary figures in the background who jump over the barrier, either to enter the ring or to escape from it. The most outstanding light is in the central part of the scene, which cuts through the mass of spectators in the background, resolved in dark tones.

Glendinning relates the print, which is one of the few signed Bullfighting prints, to others that have characters with somewhat distorted faces, a feature that in his opinion implies a criticism of those who participate in one way or another in a bullfight, such as Martincho's recklessness in the bullring of Zaragoza, Another madness of his in the same bullring, Ceballos himself, mounted on another bull, breaking rejones in the bullring of Madrid, The fall of a picador from his horse under the bull, Fire bull or Two groups of bullfighters run over at once by a single bull.

Martínez-Novillo, for his part, relates the print thematically to the engravings Fall of a picador from his horse under the bull and Two groups of picadors run over at once by a single bull, to which he adds a third, Unfortunate charge of a powerful bull (Bullfighting B). He considers these works to be the culmination of what is captured in the present print. They are all violent and harsh scenes, works of both conceptual and plastic importance that had a notable influence on other artists such as Picasso, who ended up turning the bull into a true obsession.

In Matilla's view, the violence of the print is conceptually close to that of the Disasters of War. He also points out that once again we are dealing with the representation of the public as a mass and recalls that the fact of reflecting the death of two horses in the bullring also occurs in two other prints in the series, specifically in the aforementioned Fall of a picador from his horse under the bull and Two groups of picadors run over at once by a single bull.

There is a preparatory drawing of the present print, also entitled The hard-working Rendón stinging a bull whose fate killed him in the bullring in Madrid. 

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
  • 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
  • Bilbao
    2012
  • Zaragoza
    2017
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 203-204
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 344, cat. 231
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 279, cat. 1206
  • HOFMANN, Werner (ed.)
    Goya, Das Zeitalter de Revolutionen. 1789-1830
    HamburgPrestel-Verlag Münche und Hamburger Kunsthalle
    1980
    p. 292
  • HOLO, Selma Reuben
    MilwakeeMilwaukee Art Museum
    1986
    pp. 26 y 32
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 254
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    p. 35
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 353
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 88-89
  • MATILLA, José Manuel
    SevillaSociedad Estatal Nuevo Milenio
    2001
    pp. 290-291, cat. 76
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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