Francisco de Goya

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

Clasificación
Varilarguero on the shoulders of a pimp, stinging a bull (Bullfighting D)
Datos Generales
Cronología
1810 - 1815
Dimensiones
242 x 353 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones
D (estampado, ángulo superior derecho)
Historia

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

The print, rejected by Goya and not included in the first edition of the Bullfighting of 1816, was added and published for the first time, along with six other (A-G), in the third edition of the series, published by Eugène Loizelet in Pais in 1876. It was retained in subsequent editions of the Bullfighting .

A proof of the print, retouched in black pencil, brown ink wash and white lead, has been preserved.

The plate of the print is preserved in the National Chalcography (no. 370), with Origin of the harpoons or flags engraved on the obverse.

Análisis artístico

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

This print was not included by Goya in the official edition of Bullfighting  in 1816, as he had previously discarded it, but neither did he replace it with another that dealt with the same subject, as happened in other cases.

Two symmetrical groups of figures appear in the foreground of the print, which reproduces quite faithfully the preparatory drawing, also entitled Varilarguero on the shoulders of a pimp, stinging a bull (Bullfighting D), with the addition og a very successful chiaroscuro effect. the two groups are of similar importance, which may have seemed a mistake in Goya´s eyes and led him not to include the print in the series.

 The group on the right consists of the bull and two men, one dressed as a picador, standing on the shoulders of the other holding a pike with which he is poking the bull while the bearer throws the cape at the animal. There is a marked contrast between the black colour of the bull and the clear intonation of the bullfighters. The group on the left is made up of four men, no doubt pimps, who are dressed in capes and watch the scene in case it should be necessary to intervene. In the background, between the two groups, we can see a third, secondary group of four more pimps and, further back, the barrier and the bullrings filled with a crowd of people watching the scene attentively. There are few points of light, which mainly highlight the costumes of the men in the foreground.

Lafuente Ferrari relates the scene to the bullfighter Juan Jorge, Joaquinín, who performed a number like the one depicted, which is known from a poster in the Madrid bullring in 1776. For Bagüés, what is represented is a novillada, a type of bullfight in which the bulls were run without being killed. He highlights a lighting effect created in part of the bullring, which he considers magnificent.

Conservación

D (print, upper right-hand corner)

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • 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
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Bilbao
    2012
  • Zaragoza
    2017
Bibliografía
  • ZaragozaTip. del Hospicio
    1926
    pp. 39-40
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. p. 211
  • LUJÁN, Néstor
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 354, cat. 240
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 280, cat. 1225
  • GASSIER, Pierre
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 119, cat. 52
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 362
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 102-103
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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