Francisco de Goya

Manly courage of the famous Pajuelera in the one in Zaragoza (preparatory drawing).

Clasificación
Manly courage of the famous Pajuelera in the one in Zaragoza (preparatory drawing).
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
185 x 285 mm
Técnica y soporte
Sanguine on laid paper
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
02 Oct 2021 / 22 Jun 2023
Inventario
(D4309)
Inscripciones

26 (in pencil, lower left 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 Manly courage of the famous Pajuelera in the one in Zaragoza. Like the print, the preparatory study shows how the famous Pajuelera, mounted on her horse, fights with a bull that she is stinging, while a farmhand holds the bull to prevent it from escaping. 

In this case there are few elements different from the later engraving, the most notable being the bullfighter's facial expression, which here is more friendly and less eloquent. The arrangement of her hair is also different, as it is tied back, whereas in the print it is loose. The same is true of the background: here we see the barrier and the bullrings full of spectators - although only suggested by lines outlining bulges - whereas in the engraving Goya reduces the audience to a single group on the right of the composition.

The use of light is similar to that found in the print, with just over the left half of the drawing being illuminated.

Exposiciones
  • Madrid
    2002
  • Santander
    2017
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 200-201
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 175
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 106
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1195
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 16
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 378-379, cat. 264
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 200-201
  • ANSÓN NAVARRO, Arturo
    Goya y Aragón. Familia, amistades y encargos artísticos
    col. Col. Mariano de Pano y Ruata
    ZaragozaCaja de Ahorros de la Inmaculada de Aragón
    1995
    pp. 227-229
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 78-79
  • MATILLA, José Manuel y MENA, Manuela B.
    SantanderFundación Botín y Museo Nacional del Prado
    2017
    pp. 45 y 163, cat. 13
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