Francisco de Goya

A Spanish knight in the bullring breaking rejoncillos without the help of the pimps (preparatory drawing)

Clasificación
A Spanish knight in the bullring breaking rejoncillos without the help of the pimps (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
196 x 294 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
(D4298)
Inscripciones

25 (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 of the print A Spanish knight in the bullring breaking rejoncillos without the help of the pimps. This is a high-quality preparatory study depicting a bullfighting scene on horseback in which a "caballero en plaza" on his mount rejonea a bull. The two, perfectly opposed to each other, are depicted in full movement. Goya captures the moment when the horseman is about to thrust the rejón into the animal's neck.

In the background is the barrier that can be seen in the print and behind it a large number of figures contemplating the scene, who in the engraving are reduced to a small group.

In the title of the print and the drawing itself, mention is made of the chulos, who entered the bullring to help the knight if necessary, although on this occasion the knight dispenses with them as he is sufficiently skilled to act alone.

The drawing was affixed to a second sheet of laid paper belonging to a French army record book in Spain.

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
  • Goya: toros y toreros
    Espace Van Gogh
    Arles
    1990
    displayed also at Academia de Bellas Artes de San Fernando, Madrid, consultant editor Pierre Gassier.
  • Sevilla
    2001
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 185 y 193-194
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 165
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 80
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1177
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 14
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 360-361, cat. 255
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 185-186
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 62-63
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