- Cronología
- 1814 - 1815
- Dimensiones
- 252 x 350 mm
- Técnica y soporte
- Aguafuerte, aguatinta, punta seca, buril y bruñidor
- Reconocimiento de la autoría de Goya
- Documented work
- Ficha: realización/revisión
- 03 Oct 2021 / 22 Jun 2023
- Inventario
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- Otros títulos:
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See How the ancient Spaniards hunted bulls on horseback in the countryside
This print, rejected by Goya and not included in the first edition of the Bullfighting of 1816 because of faults in the aquatint bite, was added and published for the first time, together with six others (A-G), in the third edition of the series, printed by Eugène Loizelet in Paris in 1876. It was retained in subsequent editions of the Bullfighting.
The plate is kept at the National Chalcography (nº 367), with How the ancient Spaniards hunted bulls on horseback in the countryside engraved on the obverse.
See How the ancient Spaniards hunted bulls on horseback in the countryside
A very dark scene in which two elements stand out above all else: the black bull and the horse with the bullfighter are much more brightly lit, in white.
The place where the action is taking place is clearly distinguishable, as the bullrings with people and the barrier of the bullring are depicted, but without going into detail, in a sketchy manner. In the bullring, apart from the knight in the bullring on his mount who tries to thrust a rejón at the bull, there is a pimp with a cape who tries to provoke the bull so that the knight can thrust the rejón more easily. Behind him, there are more characters in capes who are watching the action, no doubt other pimp characters who are ready to help the bullfighter if necessary.
The present print is related to another engraving from the original series: A Spanish Gentleman in the Bullring breaking a small bull without the help of the pimps, in which a similar theme is depicted.
Beruete observed a large number of bubbles in the print, which may be due to the acid not having been moved properly during the bite. It is thought that this is why Goya discarded it and did not include it in the first edition of the Bullfighting. There are several authors who agree with Beruete, including Luján and Lafuente Ferrari. All of them consider that the seven prints identified by the letters A-G are those that Goya rejected while he was working.
Lafuente Ferrari, for himself, places this engraving among the scenes that present lances without historical accuracy and explains that "pimps" on foot used to appear in the bullfights to help the "mounted bullfighters".
There is a preparatory drawing for this print, also entitled A gentleman in the bullring breaking a little bull with the help of a pimp (Bullfighting A).
A (print, upper right-hand corner)
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Grabados y dibujos de Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1946catalogue Elena Páez Ríos
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Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerteBiblioteca NacionalMadrid1978May - June 1978
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Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete deCasa de la Amistad de MoscúMoscow1979exhibition displayed from January 18th to 31st 1979
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1984
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Madrid1987
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Madrid1990
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Goya grabadorFundación Juan MarchMadrid1994consultant editors Alfonso E. Pérez Sánchez and Julián Gállego, from January 14th to March 20th 1994
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Goya grabadorMuseo del Grabado Español ContemporáneoMarbella1996from March 8th to May 5th 1996
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Schlaf der Vernunft. Original radierungen von Francisco de GoyaMunich2000
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Madrid2002
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Madrid2002
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Bilbao2012
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Zaragoza2017
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MadridBlass S.A.1918p. 137
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1946pp. 177-216, espec. pp. 185 y 210
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BarcelonaTartessos-F. Oliver Branchfelt1946 (reed. 1951)
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OxfordBruno Cassirer1964vol. II, 1964, p. 351, cat. 237
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 280, cat. 1219
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MilwakeeMilwaukee Art Museum1986p. 19
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Goya, toros y torerosMadridMinisterio de Cultura, Comunidad de Madrid1990p. 117, cat. 50
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MadridCaser-Turner1992pp. 21, 31 y 39
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996cat. 359
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MadridMuseo Nacional del Prado2001pp. 99-100
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 186-201