Francisco de Goya

Varilarguero on the shoulders of a pimp, stinging a bull (Bullfighting D) (preparatory drawing)

Clasificación
Varilarguero on the shoulders of a pimp, stinging a bull (Bullfighting D) (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1815
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
182 x 308 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
(D4323)
Inscripciones

6 (in pencil, upper left-hand corner)

9 (in pencil, lower left corner)

Unpublished (reverse, upper left)

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 Varilarguero on the shoulders of a pimp, stinging a bull (Bullfighting D) We see how a bullfighter, on the shoulders of another bullfighter or a pimp, stabs the bull in front of him, who enters the cape held by the other figure. Lafuente Ferrari is convinced that the scene was performed in the Madrid bullring by Juan Jorge, known as Joaquinín, around 1776.

Here we see two symmetrical groups of figures and another secondary group at the back of the scene, between the two, a pattern that will be maintained in the later print. The barrier of the bullring can be slightly glimpsed, but the most careful part of the drawing is that of the two groups of figures in the foreground, including the bull, which shows a great deal of movement. Gassier considers that the fact that there are two groups of figures in parallel only detracts from the importance of both, for although the whole is harmonious, neither stands out and both lose prominence.

There are two points of light in the scene, one in each of the groups in the foreground.

The present preparatory drawing was transferred to the plate, and thus to the print, with remarkable fidelity.

Conservación

The paper retains creases from being passed through the press.

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
  • Los dibujos de Goya
    Museo Provincial de Zaragoza
    Zaragoza
    1978
    exhibition organized by Museo Provincial de Zaragoza, Ministerio de Cultura and Ayuntamiento de Zaragoza, exhibition guide written by Miguel Beltrán Lloris and Micaela Pérez Sáenz. October 1978
  • Madrid
    2002
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. p. 211
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    cat. 188
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 171
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 280, cat. 1226
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 20
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 410-411, cat. 280
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 102 y 103
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