Francisco de Goya

Recklessness of Martincho (Bullfighting H) (preparatory drawing)

Clasificación
Recklessness of Martincho (Bullfighting H) (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
184 x 297 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
03 Oct 2021 / 22 Jun 2023
Inventario
(D4303)
Inscripciones

21 (in pencil, lower right-hand corner)

unpublished (lower right-hand corner)

[rebacked] (lower right corner)

225 [Envelope sticker] (reverse, lower right)

Engraving (reverse, upper centre)

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 for the print Recklessness of Martincho (Bullfighting H)  a print that was not included in the official Bullfighting series, although three state proofs of it have been preserved, but not the plate.

The drawing is very similar to the surviving state proofs, as it was transferred with remarkable fidelity to the plate. Martincho, as in the state trials, is seated on a chair in the middle of the bullring, about to go in to kill the bull in front of him. He is holding a cape in his left hand and the rapier with which he is going to go in for the kill in his right. In the background, a number of characters can be glimpsed, sketched quickly and without any detail, greatly simplifying the composition, who will later be reduced in number and grouped together in the state of the bullfight.

In terms of lighting, the preparatory drawing is more similar to the two proofs of the third state, in which the aquatint is already included in the arena of the bullring, so that only the lower right-hand corner and part of the bull and the bullfighter are illuminated.

Conservación

The paper retains creases from being passed through the press.

Exposiciones
  • Madrid
    2002
Bibliografía
  • LEFORT, Paul
    1868
    p. 176
  • LAFUENTE FERRARI, Enrique
    1941
    pp. 186 y 191-192
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. p. 214
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 184
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 358, cat. 244
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 281, cat. 1234
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    pp. 20-21
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 418-419, cat. 284
  • 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
    p. 225
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 107-108
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