Francisco de Goya

Spanish knight kills bull after losing his horse

Clasificación
Spanish knight kills bull after losing his horse
Datos Generales
Cronología
1814 - 1816
Dimensiones
246 x 352 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones

9 (  (print, upper right-hand corner))

Goya (in mirror and vertical, embossed, lower left-hand corner)

Historia

See How the ancient Spaniards hunted bulls on horseback in the countryside

There is a state proof, made before the aquatint and burnisher, in the Museum of Fine Arts, Boston.

The plate is kept at the National Chalcography.

Análisis artístico

See How the ancient Spaniards hunted bulls on horseback in the countryside

The print is part of the subgroup, composed of four prints, dedicated to the origin and chivalrous nature of bullfighting on horseback (nos. 9-11 and 13). It depicts in a somewhat burlesque manner a gentleman dressed inappropriately for bullfighting, according to the Count of La Viñaza, with a turban adorned with feathers, a short jacket with a sash, narrow trousers and an outlandish boot with large spurs, who has dismounted from his horse and with a somewhat forced pose thrusts his sword into the neck of the bull, which has bent its legs, instyle known as " pawning on foot".In the background, behind the bull, is the horse, badly wounded and unable to get up, which seems to be observing the scene. The background is neutral and without spatial references, worked only with aquatint, which creates an area of light that frames and highlights the figures.

Lafuente Ferrari omments on the print in relation to the preparatory drawing for the same, also entitled Spanish knight kills bull after losing his horse, in which the horse is dead and can barely be seen behind its rider. He also compares the figure of the knight with The Jester Don Juan of Austria, a portrait by Velázquez copied by Goya himself in a print.

Gassier compares the figure of the knight with another that appears throughout the series in different engravings and also in different drawings in various notebooks, such as This was a lame man who had a lordship (C.5) or Conqueror without witnesses (F.13), among others.

Martínez-Novillo relates it to the prints A Spanish Gentleman in the Square Breaking a Fistfight without the Help of the Pimps and A Gentleman in the Square Breaking a Fistfight with the Help of a Pimp ("Bullfighting A"), although in his opinion these represent scenes from the time of Goya and not "historical" ones, an aspect on which there is no agreement among specialists. 

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • Boston
    1974
  • 1975
  • Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerte
    Biblioteca Nacional
    Madrid
    1978
    May - June 1978
  •  Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete de
    Casa de la Amistad de Moscú
    Moscow
    1979
    exhibition displayed from January 18th to 31st 1979
  • 1984
  • Madrid
    1987
  • Madrid
    1990
  • Goya grabador
    Fundación Juan March
    Madrid
    1994
    consultant editors Alfonso E. Pérez Sánchez and Julián Gállego, from January 14th to March 20th 1994
  • Goya grabador
    Museo del Grabado Español Contemporáneo
    Marbella
    1996
    from March 8th to May 5th 1996
  • Zaragoza
    1996
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Bilbao
    2012
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Zaragoza
    2017
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 185 y 191
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 322, cat. 212
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 277, cat. 1165
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    pp. 216-218, cat. 168-169
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 92, cat. 23
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    pp. 30-31
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 54-55
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    ParísPinacoteca de París
    2013
    p. 104
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