Francisco de Goya

The same overturns a bull in the bullring of Madrid

Clasificación
The same overturns a bull in the bullring of Madrid
Datos Generales
Cronología
1814 - 1816
Dimensiones
246 x 352 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca, buril y bruñidor
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones

16 (print, upper right-hand corner)

Historia

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

A state proof of this print before aquatint and burnisher is preserved in the Dutuit Collection, Musée du Petit Palais, Paris (Dut. 5421).

The plate is kept at the National Chalcography (nº 349).

Análisis artístico

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

In this print Goya represents another of the achievements of the famous Aragonese bullfighter Martincho, executed in this case, as the title indicates, in the bullring of Madrid, although the spatial references are almost non-existent. This action by the bullfighter is what Goya would later call madness, and in it we see how the bullfighter grabs the bull by the horn and tail in an attempt to knock the animal down. This type of action was not usually performed during the bullfight, so we can imagine that they were Martincho's original occurrences. The images dedicated to Martincho in Bullfighting (Nos. 15, 16, 18 and 19) and their extensions (H) are all very suggestive. Goya always depicts him with strength and poise even in the midst of his actions, in some cases considered madness.

The loneliness of the figure in this composition is emphasised by the aquatint background. The couple on the right contrasts with the bullfighter and the bull, which gives balance to the scene. 

Luján explains that Goya depicted Martincho on several occasions throughout the series because that is how he remembered his youth. Glendinning, for his part, relates the scene to Nicolás F. de Moratín, who in his famous bullfighting text mentions the brave Mamon, which connects his writing with the print. In relation to this, Sayre notes that the title handwritten by Goya on the Boston copy, The Famous Mamon, differs from the title of the definitive edition of the Bullfighting, which refers to the immediately preceding print, 15, The Famous Martincho Putting Flagpulls at the Break, changing the identity of the bullfighter. He also refers to Pedro de la Cruz, nicknamed "el Mamón". Martínez-Novillo also emphasises the debate about the identity of the protagonist of the engraving, Martincho or Pedro de la Cruz "Mamón".

There is a preparatory drawing of this print, also titled The same overturns a bull in the bullring of 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
  • 1984
  • Madrid
    1987
  • Madrid
    1990
  • 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. 197-198
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, pp. 330-331, cat. 219
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1182
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    pp. 223-224, cat. 176
  • HOLO, Selma Reuben
    MilwakeeMilwaukee Art Museum
    1986
    p. 24
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 99, cat. 31
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    pp. 31-32
  • 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
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 337
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 67-68
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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