Francisco de Goya

The Death of Pepe Illo (Bullfighting E) (preparatory drawing)

Clasificación
The Death of Pepe Illo (Bullfighting E) (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1815
Ubicación
Hamburger Kunsthalle, Hamburg, Germany
Dimensiones
190 x 313 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Hamburger Kunsthalle
Ficha: realización/revisión
03 Oct 2021 / 22 Jun 2023
Inventario
(Inv. 38533)
Historia

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

Line of provenance: [José Atanasio Echeverría, Mexico]; Julian Benjamin Williams, Seville (d. 1866); John Wetherell (?) (d. 1865); Horatio / Nathan Wetherell (?) (until 1874); Frederick William Cosens, London (1874-1890); Sotheby's, London, auction of Frederick William Cosens' estates (11-21 November 1890); Bernard Quaritch Ltd, London (November 1890-July 1891); acquired by the Hamburger Kunsthalle on 14 July 1891.

This is one of the four preparatory drawings for Bullfighting and its Extensions held by the Hamburger Kunsthalle (28a, 32b, Ea and Ka) and one of the few of the series and its extensions not in the Prado Museum, Madrid.

Análisis artístico

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

Preparatory drawing for the print Death of Pepe Illon (Bullfighting E). It shows the dark, dramatic and mysterious nature of the bullfighting festival. It is a scene full of characters and movement. In the foreground are the bull that would end up killing the famous bullfighter Pepe Illo (1754-1801) on the fateful afternoon of 11 May 1801, and the bullfighter himself, already hooked on one of its horns. He is being shaken and lifted up into the air while a large group of peons rush in to try to save him. On the right we can see how a picador on his horse goes straight to stand in the way with his pike in his hand. In the background, lads with capes appear and the bullring is sketched out, but only very briefly. To the left of the scene we see how a man with a lance is also ready to attack the bull, while another man stands in front of the animal, with a cape in his hand, to divert its attention.

The use of two techniques, the usual sanguine and red wash, which gives more fluidity to the forms, gives movement to the scene, which with few changes is transferred to the plate and thus to the print, which is very similar to the preparatory drawing, although somewhat lighter visually.

Lafuente Ferrari raises certain doubts about the authorship of this drawing.

Exposiciones
  • Hamburg
    1966
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Hamburg
    1989
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Hamburg
    2001
  • Madrid
    2015
  • Hamburg
    2019
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 211-212
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 174
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 280, cat. 1228
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 20
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 412-413, cat. 281
  • SANTIAGO PÁEZ, Elena y WILSON-BAREAU, Juliet (comisarias)
    Ydioma universal: Goya en la Biblioteca Nacional
    MadridBiblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg
    1996
    p. 242
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 103-104
  • www.kunsthalle-karlsruhe.de, consulted 13-04-10
    13-04-10
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