- Cronología
- Ca. 1814 - 1816
- Ubicación
- The Prado National Museum. Madrid, Madrid, Spain
- Dimensiones
- 186 x 269 mm
- Técnica y soporte
- Pencil and sanguine on laid paper
- Reconocimiento de la autoría de Goya
- Documented work
- Titular
- El Prado National Museum
- Ficha: realización/revisión
- 01 Oct 2021 / 22 Jun 2023
- Inventario
- (D4304)
22 (superimposed on top of a smaller 22, lower left corner)
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.
See How the ancient Spaniards hunted bulls on horseback in the countryside.
Preparatory drawing of the print Martincho's temerity in the square of Zaragoza. In it we see the famous Aragonese bullfighter Martincho seated on a chair in the middle of the ring with shackles on his feet, about to kill the bull, which seems to be about to charge him, in this case in the Zaragoza bullring.
The drawing shows certain differences with respect to what Goya would later transfer to the plate, although the general composition remains the same. Thus, the diagonal created by the barrier on the left-hand side will remain in the engraving, as will the posture of the figures. On the other hand, the drawing shows a character who will not appear in the engraving: a young man trying to climb over the barrier, a barrier that is barely glimpsed here and which in the print will be more clearly defined and full of spectators. Goya also changed the bullfighter's hairstyle, who here appears with a hairnet, while in the plate he recorded him with his hair loose. The perspective will also be different in the print, as the scene will appear to be seen from the stands, which will be accentuated by squeezing the spectators behind the barrier so that they do not miss Martincho's madness.
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Goya. Exposition de l’oeuvre gravé, de peintures, de tapisseries et de cent dix dessins du Musée duBibliothèque nationale de FranceParís1935cat. 272
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Boston1974cat. 178
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1975cat. 178
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Los dibujos de GoyaMuseo Provincial de ZaragozaZaragoza1978exhibition 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 1978pp. 36-37, cat. 84
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Madrid2002
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La memoria de GoyaMuseo de ZaragozaZaragoza2008organized by Fundación Goya en Aragón, consultant editor Juan Carlos Lozano López. From February 7th to April 6th 2008
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Madrid2019cat. 138
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1946pp. 177-216, espec. p. 198
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MadridMuseo del Prado1954n. 170-171
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ParísLe Club Français du Livre1963p.95
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 278, cat. 1187
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Barcelona1974p. 15
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The Changing image: Prints by Francisco GoyaBostonMuseum of Fine Arts1974pp. 225-227, cat. 178-179
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Dibujos de Goya, 2 volsBarcelonaNoguer1975pp. 370-371, cat. 260
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El mundo de Goya en sus dibujosMadridUrbión1979pp. 191-193
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MadridCaser-Turner1992pp. 31-32
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Goya y Aragón. Familia, amistades y encargos artísticoscol. Col. Mariano de Pano y RuataZaragozaCaja de Ahorros de la Inmaculada de Aragón1995p. 225
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MadridMuseo Nacional del Prado2001pp. 70-72
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MadridMuseo Nacional del Prado2019pp. 218-219