Francisco de Goya

A bullfighter plunges the rapier by grabbing the bull by a horn (Bullfighting L) (preparatory drawing)

Clasificación
A bullfighter plunges the rapier by grabbing the bull by a horn (Bullfighting L) (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
187 x 289 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
(D4306)
Inscripciones

9 (in pencil, lower left corner)

1 (reverse, centre)

228 (reverse, lower left)

37 (reverse, top centre)

42 (reverse, top)

Unpublished (reverse, upper middle)

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 bullfighter plunges the rapier by grabbing the bull by a horn (Bullfighting L). This preparatory study is very similar to the later engraving, as it will be transferred to the plate with remarkable fidelity. Goya retained the composition present here, although slight changes were made, such as the removal of a secondary group of figures.

The scene shows the moment in which the bullfighter is thrusting his rapier at the bull while grabbing a piton with his other hand. The bull's gesture is the same as in the later engraving: he seems to be leaping forward, facing the bullfighter. Already in the foreground is the subalterno with a cape who seems to be moving away from the main action. In the background we see a figure with a hat and cape, with his back turned, with another figure and a dead horse to one side. Another secondary group is to the left of the previous one. It will be suppressed in the print to lighten the composition and make it easier to read. In the background are the barrier with some of the figures behind it, and the bullring with the audience, although it is very sketchy, so it does not give the impression of a mass.

The light in the preparatory study is still different from that in the later engraving, which is more intense and extensive than in the present one.

The present drawing is affixed to a second laid paper belonging to a French army record book in Spain.

Conservación

The paper still has creases from the press.

Exposiciones
  • 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.
  • Madrid
    1990
Bibliografía
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    cat. 192
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 362, cat. 247a
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 281, cat. 1242
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 426-427, cat. 288
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp.211-212
  • HOLO, Selma Reuben
    MilwakeeMilwaukee Art Museum
    1986
    p. 20
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 110-111
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