Francisco de Goya

A right-handed bullfighter fighting from the front from behind (Bullfighting K) (preparatory drawing)

Clasificación
A right-handed bullfighter fighting from the front from behind (Bullfighting K) (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
Hamburger Kunsthalle, Hamburg, Germany
Dimensiones
193 x 295 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Hamburger Kunsthalle
Ficha: realización/revisión
03 Oct 2021 / 22 Jun 2023
Inventario
(Inv. 38542)
Otros títulos:



Inscripciones

5 [...] (recto, lower left-hand side)

248 [adhesive envelope] (reverse, bottom)

Historia

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

Line of provenance: [José Atanasio Echeverría, Mexico]; Julian Benjamin Williams, Seville (d. 1866); John Wetherell (?) (d. 1865); Horatio / Nathan Wetherell (?) (until 1874); Frederick William Cosens, London (1874-1890); Sotheby's, London, auction of Frederick William Cosens' estates (11-21 November 1890); Bernard Quaritch Ltd, London (November 1890-July 1891); acquired by the Hamburger Kunsthalle on 14 July 1891.

This is one of the four preparatory drawings for Bullfighting and its Extensions held by the Hamburger Kunsthalle (28a, 32b, Ea and Ka) and one of the few of the series and its extensions not in the Prado Museum, Madrid.

Análisis artístico

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

Preparatory drawing for the print A bullfighter fighting from behind from the front (Bullfighting K). Here we see a bullfighter citing the bull from behind, in a very imaginative suerte. This main pair of bullfighter and bull are located in the foreground to the left, taking all the limelight, while the rest of the figures are located in the background, many of them in the same position as in the later engraving, although some will be eliminated to lighten the composition and make it easier to read. On the right is a group of labourers calling the bull and further to the back a picador on his mount in a different posture to the one he will later have in the engraving, where we see them leaning over his apparently injured horse. In the background we can see the barrier of the bullring and the bullrings with the audience.

The lighting of the scene is different from that of the engraving. It is notable for the mixture of techniques, sanguine and red ink wash, which facilitates the suggestion of movement. In this connection, Gassier links this study to three other preparatory drawings by Goya for prints in the series of the Tauromaquia and its extensions in which the same techniques are used (27a, 32b and 38a). Hofmann, for his part, points out that the red wash helps him to see the effect that the aquatint will have on the subsequent print. He also comments on the three groups in the drawing that contrast with the passive audience, which is sketched in. He also points out the existence of corrections in Goya's hand that allow us to see his creative process.

Exposiciones
  • Hamburg
    1966
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Hamburg
    1989
  • Hamburg
    2001
  • Dallas
    2014
  • Hamburg
    2019
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1941
    pp. 185-193
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 361, cat. 247
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 281, cat. 1240
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 21
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 424-425, cat. 287
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 109-110
  • www.kunsthalle-karlsruhe.de, consulted 13-04-10
    13-04-10
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