Francisco de Goya

A knight in the bullring breaking a rejoncillo with the help of a pimp (Bullfighting A) (preparatory drawing)

Clasificación
A knight in the bullring breaking a rejoncillo with the help of a pimp (Bullfighting A) (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1815
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
187 x 293 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
(D4319)
Otros títulos:


Inscripciones

3 (in pencil, lower left-hand corner)

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 A knight in the bullring breaking a rejoncillo with the help of a pimp (Bullfighting A). The subject of this drawing should be compared with that of the engraving A Spanish Gentleman in the Bullring Breaking a "rejoncillos" without the help of the "chulos", in which a Spanish gentleman also breaks a "rejoncillos", but in this case without the help of the "chulos". The compositions are different: here we see the bull pouncing on the horse mounted by the knight in the arena who is trying to thrust the rejoncillos at him.

In front of the bull, in addition to the knight mounted on his horse, we see a pimp with a cape in his hands, causing the bull to focus on him and thus bend his neck so that the knight can better thrust the rejón at him.

The composition rehearsed in this preparatory drawing will be transferred with remarkable fidelity to the plate and therefore to the print.

Conservación

The paper retains creases from being passed through the press.

Exposiciones
  • Goya. Exposition de l’oeuvre gravé, de peintures, de tapisseries et de cent dix dessins du Musée du
    Bibliothèque nationale de France
    París
    1935
  • Goya. Gemälde Zeichnungen. Graphik. Tapisserien
    Kunsthalle Basel
    Basle
    1953
    from January 23th to April 12th 1953
  • Los dibujos de Goya
    Museo Provincial de Zaragoza
    Zaragoza
    1978
    exhibition 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 1978
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    p.210
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    cat. 185
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p.160
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 280, cat. 1220
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 19
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    cat. 277
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 99-100
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