Francisco de Goya

The unfortunate death of Pepe Illo in the Madrid square (preparatory drawing)

Clasificación
The unfortunate death of Pepe Illo in the Madrid square (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
176 x 284 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
03 Oct 2021 / 22 Jun 2023
Inventario
(D4318)
Otros títulos:


Inscripciones

13 (in pencil, bottom right-hand corner)

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 for the print The unfortunate death of Pepe Illo in the Madrid square.  This is a scene with only a few characters, the strictly necessary ones, which are the focus of the composition, which will remain almost unchanged when it is transferred to the plate and therefore to the print. We see in detail, although not as much as in the later engraving, how the bull mortally wounds the famous bullfighter Pepe Illo and how he tries to free himself from the pitón. At his side, a member of the bullfighter's team tries unsuccessfully to divert the bull's attention so that he releases the bullfighter, who dies in the bullring infirmary twenty minutes after the goring.

In the drawing we can see how Goya resolves almost all the figures with rapid strokes, although he places somewhat more emphasis on the bull than on the other elements. Nor does he neglect the lighting. In fact, we see how the shadows of the bullrings are projected onto the arena, which helps to convey the idea that we are in a circular space. We can intuit the barrier, which is only sketchily drawn, where it seems that two people are trying to jump into the bullring, as in the later engraving, where this action is, however, more developed and defined.

Exposiciones
  • Boston
    1974
  • Los dibujos de Goya
    Museo Provincial de Zaragoza
    Zaragoza
    1978
    exhibition organized by Museo Provincial de Zaragoza, Ministerio de Cultura and Ayuntamiento de Zaragoza, exhibition guide written by Miguel Beltrán Lloris and Micaela Pérez Sáenz. October 1978
  • Goya (1746-1828). Peintures-Dessins-Gravures
    Centre Cultural du Marais
    París
    1979
    consultant editors Jacqueline et Maurice Guillard
  • Madrid
    2002
  • Madrid
    2019
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 207-210
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    cat. 184
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 142
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 280, cat. 1218
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    pp. 17-18
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    pp. 244-247
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 402-403, cat. 276
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 207-208
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 97-99
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    pp. 220-221
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