Francisco de Goya

The Moors settled in Spain, dispensing with the superstitions of their Alcoran, adopted this hunting and art, and they throw a bull in the field (preparatory drawing).

Clasificación
The Moors settled in Spain, dispensing with the superstitions of their Alcoran, adopted this hunting and art, and they throw a bull in the field (preparatory drawing).
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
176 x 288 cm
Técnica y soporte
Sanguine on laid paper
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
30 Sep 2021 / 22 Jun 2023
Inventario
D4357
Inscripciones
7 (a lápiz; anverso, ángulo superior izquierdo) 20 (a lápiz; anverso, ángulo inferior izquierdo)
Historia

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

Javier Goya, Madrid, 1828; Mariano Goya, Madrid, 1854; Valentín Carderera, Madrid, c. 1861; Mariano Carderera, Madrid, 1880; Prado Museum, 12-11-1886.

Análisis artístico

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

Preparatory drawing for the print The Moors settled in Spain, dispensing with the superstitions of their Alcoran, adopted this hunting and art, and they throw a bull in the field, which Goya begins a group of six drawings that deal with the Muslim bullfighting practice established in Spain. It is clear that Goya, in his idiosyncratic way of interpreting past events, looked to the Egyptian troops of Turkish origin in Napoleon's army, the Mamluks, to depict the Muslims.

Lafuente Ferrari noted a compositional similarity between this painting and the central figure in the painting of the Second of May. The Moorish figure with the cutlass about to wound the bull is very similar to the figure of the Spaniard stabbing the Mamluk and the Moor falling from his horse recalls the one stabbed in the painting.

Matilla describes how the composition is understood not only as an illustration of the history of bullfighting but also as a battle scene that resembles those in the series of the Disasters, a series engraved at almost the same time, in which the executioner and the victim are fatally confused in battle.

Exposiciones
  • Madrid
    2002
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    p.187-188
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 153
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 46
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    p. 363
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 276, n. 1154
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 10
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 334-335 y 428-429
  • LAFUENTE FERRARI, Enrique
    MadridSilex
    1980
    p. 158
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 45-46 y 111
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