Francisco de Goya

Another madness in the same square

Clasificación
Another madness in the same square
Datos Generales
Cronología
1815
Dimensiones
245 x 353 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca, buril y bruñidor
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones

19 (print, upper right-hand corner)

1815 (print, under right-hand corner)

Goya (print, under right-hand corner)

Historia

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

Two state proofs are preserved: one before the additional aquatint and additional drypoint and burin touches, and the other before the additional burnishing and drypint and burin touches. 

The plate is kept at the National Chalcography (no. 352).

Análisis artístico

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

The fourth of the five prints of the "extended" version of La Tauromaquia, dedicated to the exploits of Martincho (Nos. 15, 16, 18, 19 and H). It presents us with a somewhat bizarre scene in which the famous Martincho, in another of his madnesses, is on a table in the middle of the bullring and with shackles on his feet, about to jump over a bull, while five members of his cuadrilla (a bullfighting team) watch in the background. The detail with which Goya captures the facial features of the bullfighter, who waits on the table for the bull to charge, is striking.

Once again we have before us the barrier of the bullring, so that the spectator's point of view coincides with that of part of the audience in the lower part of the stands.The main part of the action takes place in the centre of the composition, but to the sides, at the back of the bullring, we can see various secondary characters, and further on, behind the barrier, we can sense the audience watching the bullfight from the stands. This part corresponding to the crowd is heavily striped in order to achieve a dark shading that contrasts markedly with the area of the barrier and the bullring itself, which are much brighter, except for the right-hand side of the latter, which is also in shadow, although less intense. This use of shading makes it possible to highlight a very limited area, the central part, where most of the action takes place. The bull's back is also illuminated, while his head is in shadow.

Von Loga believes that Goya may have witnessed the scene in his youth in the bullring in Saragossa. Glendinning, for his part, relates the somewhat distorted treatment of the faces, which in his opinion implies a criticism of those who participate in one way or another in a bullfight, to other engravings of Bullfighting, in particular with Martincho's recklessness in the Zaragoza SquareCeballos himself, mounted on another bull, broke rejones in the bullring of Madrid, A bullfighter falls from his horse under the bull, The hard-working Rendón stinging a bull from whose fate he died in the bullring in MadridFire flags, and Two groups of bullfighters run over at once by a single bull.

Sayre points out how Goya narrows the light to increase the tension and drama around the protagonists. He notes that the two main figures are smaller than in other prints. Both Sayre and Lafuente Ferrari correctly identify Martincho with Antonio Ebassun, the real name of the bullfighter, which has since been confirmed.

There is a preparatory drawing of the present print, also entitled Another madness in the same square.

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • Boston
    1974
  • 1975
  • 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
    1987
  • 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
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Bilbao
    2012
  • Zaragoza
    2017
Bibliografía
  • LOGA, Valerian von
    MunichKlinkhardt & Biermann
    1903
    p. 27
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 198-199
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 334, cat. 222
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1188
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    pp. 227-229, cat. 180-182
  • HOLO, Selma Reuben
    MilwakeeMilwaukee Art Museum
    1986
    p. 24
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 102, cat. 34
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    pp. 31-32
  • ANSÓN NAVARRO, Arturo
    Goya y Aragón. Familia, amistades y encargos artísticos
    col. Col. Mariano de Pano y Ruata
    ZaragozaCaja de Ahorros de la Inmaculada de Aragón
    1995
    pp. 225-226
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 340
  • 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. 253
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 72-74
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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