Francisco de Goya

Mariano Ceballos, aka " The Indian ", kills the bull from his horse.

Clasificación
Mariano Ceballos, aka
Datos Generales
Cronología
1814 - 1816
Dimensiones
250 x 350 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
02 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones
23 (estampado, ángulo superior derecho)
Historia

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

Four state proofs of this plate are preserved: a first proof without the aquatint, a second proof with the etching and aquatint, another before the aquatint was fully burnished, and the last with the addition of the burnisher to highlight the figure of the bull but before the number was added.

The plate is kept at the National Chalcography (nº 356).

Análisis artístico

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

The first of the three prints dedicated in Bullfighting (nos. 23 and 24) and its extensions (J) to Mariano Ceballos, aka "The Indian", a famous bullfighter from the time of Goya's youth, originally from Spanish America, specifically from the Governorate of the Río de la Plata, part of present-day Argentina.

In the scene we see Ceballos performing his best-known number, which consists of confronting the bull on the back of a horse or another bull. He performs the luck of killing with a short sword, which gives the impression that he is going to fall off the horse. In the bullring we see a large group of people inside the ring, probably members of his crew. The stands are also full of spectators, although we can only guess at them, as we can only see their silhouettes among the stripes that darken the background.

The chiaroscuro effect is particularly notable, especially because only the bull, the horse and Ceballos himself are illuminated, leaving the rest of the elements in semi-darkness.

Beruete highlights Goya's work with the burnisher to achieve the modelling of the bull, especially in reference to the state tests. Sayre also praises the work of the burnisher, who has been removing the lights to give greater prominence to the fight between the bull and Ceballos. Luján, for his part, emphasises the chiaroscuro although he criticises the horse's stagnation, which in his opinion detracts from the dynamism of the whole and does not correspond to the cast depicted.

Lafuente Ferrari believes that Ceballos is carrying a sword or rapier, which he has plunged almost completely into the bull's back, and not a dagger or short sword.

Martínez-Novillo includes the work with the bullfighting prints that deal with particular suertes, namely: The very skilful student from Falces, dressed in a bullfighter's cape, teases the bull with his "quiebros", The famous Martincho putting flags at the break, He himself overturns a bull in the bullring of Madrid, Martincho's recklessness in the Zaragoza bullring, Another of his follies in the same bullring
Lightness and daring of Juanito Apiñani in Madrid and The same Ceballos mounted on another bull that broke rejones in the bullring of Madrid.

In addition to the three Bullfighting prints and their extensions, Goya dedicated a fourth print to Mariano Ceballos, specifically one of his lithographs from the Bulls of Bordeaux series, entitled The Famous American, Mariano Ceballos.

There is a preparatory drawing of this engraving, also entitled Mariano Ceballos, aka "The Indian", kills the bull from his horse. 

Conservación

23 (print, upper right-hand corner)

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • Boston
    1974
  • 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
    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
  • BERUETE Y MORET, Aureliano
    MadridBlass S.A.
    1918
    p. 134
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. p. 201
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 339, cat. 226
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 279, cat. 1196
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    pp. 232-235, cat. 185-187
  • HOLO, Selma Reuben
    MilwakeeMilwaukee Art Museum
    1986
    pp. 24-25 y 32
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 106, cat. 38
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    p. 34
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 345
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 80-81
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.