Francisco de Goya

Juanito Apiñani's lightness and daring in the one in Madrid (preparatory drawing)

Clasificación
Juanito Apiñani's lightness and daring in the one in Madrid (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
186 x 278 mm
Técnica y soporte
Sanguine on laid paper
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
02 Oct 2021 / 22 Jun 2023
Inventario
(D4307)
Inscripciones

4 (in pencil, lower left 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 of the print Juanito Apiñani's lightness and daring in the one in Madrid. In this preparatory study, Goya was able to masterfully capture that stiflingly hot afternoon in the Madrid bullring in which Juanito Apiñani performed a pole vault across a bull. In the drawing, the contrast between the bull, the intensity of the line, which matches the brute force of the animal charging against the pole, and the graceful lightness of the man suspended for a moment in the air, is striking.

There are elements that differ from the engraving, the main one being that the bullring still has spectators on all sides, whereas in the print they are all huddled to one side. The characteristic parasols present in the engraving are not yet visible either. Nonetheless, many of the features of the print, such as the very short shadows on the bright sand, are already present here.

It should be noted that the drawing is notable for the casualness of its strokes, which allow the movement to be intuited despite the speed of its execution. Like the print it is used as a starting point, the drawing resembles a photograph: it manages to capture the moment as if it were a snapshot.

Exposiciones
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • Goya. Drawings, Etchings and Lithographs
    Goya. Drawings
    London
    1954
    from June 12th to July 25th 1954
  • 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: Zeichnungen und Druckgraphik
    Städtische Galerie im Städelschen Kunstintitut
    Frankfurt
    1981
    from February 13th to April 5th 1981
  • Madrid
    2002
  • Madrid
    2007
  • Madrid
    2019
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. p. 199
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 173
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 100
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1191
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 15
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 374-375, cat. 262
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 196-197
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 74-76
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    p. 300-301
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