Francisco de Goya

The same one overturns a bull in the bullring of Madrid (preparatory drawing)

Clasificación
The same one overturns a bull in the bullring of Madrid (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
161 x 285 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
(D4301)
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 printThe same one overturns a bull in the bullring of Madrid. It features elements that Goya did not introduce in the final engraving. Except for the main group, consisting of Martincho and the bull, the rest of the composition was almost completely transformed when it was transferred to the engraving. In fact, of all the secondary characters seen in the drawing, only the couple on the right will remain in the print.

In this case, the action takes place in a defined place, as there are spatial references that allow us to intuit that it is a bullring, elements that Goya did not include in the engraving, leaving the scene without spatial references.

The most elaborate part of the drawing corresponds to the main group, with the bull standing out for its posture and movement. The rest of the scene is very abbreviated, resolved with rapid strokes that Goya must have considered unnecessary in the end, as he did not transfer them to the plate.

The drawing was pasted to a second laid paper belonging to a French army record book in Spain.

Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 197-198
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 168
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 89
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1183
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p.15
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 366-367, cat. 258
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 189-190
  • ANSÓN NAVARRO, Arturo
    Goya y Aragón. Familia, amistades y encargos artísticos
    col. Col. Mariano de Pano y Ruata
    ZaragozaCaja de Ahorros de la Inmaculada de Aragón
    1995
    p. 225
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 67-68
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