- 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
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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.
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.
D (print, upper right-hand corner)
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Grabados y dibujos de Goya en la Biblioteca NacionalBiblioteca NacionalMadrid1946catalogue Elena Páez Ríos
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Goya en la Biblioteca Nacional. Exposición de grabados y dibujos en el sesquicentenario de su muerteBiblioteca NacionalMadrid1978May - June 1978
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Grabados de Goya: colección propiedad de la Biblioteca Nacional, que se conserva en su Gabinete deCasa de la Amistad de MoscúMoscow1979exhibition displayed from January 18th to 31st 1979
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1984
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Madrid1987
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Madrid1990
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Goya grabadorFundación Juan MarchMadrid1994consultant editors Alfonso E. Pérez Sánchez and Julián Gállego, from January 14th to March 20th 1994
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Goya grabadorMuseo del Grabado Español ContemporáneoMarbella1996from March 8th to May 5th 1996
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Schlaf der Vernunft. Original radierungen von Francisco de GoyaMunich2000
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Madrid2002
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Madrid2002
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Bilbao2012
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Zaragoza2017
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ZaragozaTip. del Hospicio1926pp. 39-40
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1946pp. 177-216, espec. p. 211
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BarcelonaTartessos-F. Oliver Branchfelt1946 (reed. 1951)
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OxfordBruno Cassirer1964vol. II, 1964, p. 354, cat. 240
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Vie et ouvre de Francisco de GoyaParísOffice du livre1970p. 280, cat. 1225
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Goya, toros y torerosMadridMinisterio de Cultura, Comunidad de Madrid1990p. 119, cat. 52
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Catálogo de las estampas de Goya en la Biblioteca NacionalMadridMinisterio de Educación y Cultura, Biblioteca Nacional1996cat. 362
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MadridMuseo Nacional del Prado2001pp. 102-103
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Goya. In the Norton Simon MuseumPasadenaNorton Simon Museum2016pp. 186-201