The same Ceballos mounted on another bull that broke "rejones" in the bullring of Madrid

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

Second of the three prints dedicated to bullfighting (Nos. 23 and 24) and its extensions (J) to Mariano Ceballos, aka "The Indian", a famous bullfighter from the time of Goya's youth, originally from Spanish America, specifically from the Governorate of the Silver Riber, part of nowadays Argentina.

In the picture we can see how Ceballos rides a rearing bull that he is trying to subdue and is holding a rejón in his right hand, which he intends to thrust into the other bull, which in the scene is shown in a prominent foreshortened position. The contrast between the two bulls one black and the other white, stands out, as does the contrast between the bullfighter´s clothes, also black and white, in such a way as to create a very characteristic dynamism, increased if possible by the fact the background is nude, slightly tinged by the burnished aquatint. 

Due to its specific theme of a confrontation between two bulls, the work is particularly related to two other prints by Goya featuring Mariano Ceballos: Mariano Ceballos riding a bull with a rejón (Tauromaquia J) and The Famous American, Mariano Ceballos, a lithograph belonging to the series of the Bordeaux Bulls. According to Lafuente Ferrari, Ceballos performed the faena in Spain after coming from America, specifically in Pamplona in 1778, a city where he had already fought in 1773, 1774 and 1775. Salas, for his part, aware that Ceballos repeated this faena in various Spanish bullrings and not only in Pamplona, believes that Goya may have witnessed it as a young man, no doubt in Saragossa or Madrid, and that it had a profound effect on him, as at least he also depicted it in the other two works mentioned above.

Bagüés emphasises the treatment of Ceballos's face, which is clearly making a great effort to contain the impulses of the bull he is riding.

Holo places the work among the Bullfighting prints that have no background (Nos. 3, 5, 9, 10, 11, 12 and 16), in which we see the protagonists in an empty, almost abstract space. They are normally centralised compositions in which the attention is directed towards where the action is taking place. Martínez-Novillo, for his part, believes that the work is perhaps one of the earliest depictions of the American "rodeo" and includes it with the Bullfighting prints depicting particular tricks (nos. 14, 15, 16, 18, 19, 20, 23 and 24).

There is a preparatory drawing of this engraving, also titled The same Ceballos mounted on another bull that broke "rejones" in the bullring of Madrid