Francisco de Goya

Banderillas in the Country (Banderillas en el campo)

Banderillas in the Country (Banderillas en el campo)
Datos Generales
Colección Masaveu, Oviedo, Spain
43 x 32 cm
Técnica y soporte
Oil on tin
Reconocimiento de la autoría de Goya
Undisputed work
Colección Masaveu
Ficha: realización/revisión
28 Apr 2010 / 27 Jun 2017

This work was painted during Goya's stay in Cádiz and was given to the Royal Academy of Fine Arts of San Fernando, Madrid, in January 1794.

Before reaching its current location it belonged to a number of different collections, including those of: Ángela Suplice Chopinot, Juan Agustín Ceán Bermúdez and the Marquis of La Torrecilla, all in Madrid.

Análisis artístico

The scene takes place in a tentadero, a pen used to test the condition of young fighting bulls. From the wall surrounding the enclosure, a group of majos wearing capes and hats are watching the scene in the middle of the composition, where four bullfighters are at work. There, the banderilleros, dressed in their colourful outfits, illustrate the four consecutive phases of this part of the bullfight, in which the harpoons known as banderillas are thrust into the animal.

The artist has captured the toreros in the foreground in much greater detail, leaving the more distant spectators less well defined. The predominantly earthy tones of the painting cause the bright red cape worn by one of the figures at the back to jump out. The blue sky is crossed with clouds, painted in a spectrum that goes from grey to white. In the distance we can make out a large white building which could be an Andalusian farmhouse, one of many which Goya would have seen during the time he spend in the south of Spain.

For more information, see Bulls in the Meadow.


  • Goya
    Musée Jacquemart-André
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Goya: toros y toreros
    Espace Van Gogh
    displayed also at Academia de Bellas Artes de San Fernando, Madrid, consultant editor Pierre Gassier.
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    Museo Nacional del Prado
    from November 18th 1993 to February 15th 1994. Exhibited also at the Royal Academy of Arts, London, March 18th to June 12th 1994 and The Art Institute of Chicago, Chicago, July 16th to October 16th 1994, consultant editors Manuela B. Mena Marqués and Juliet Wilson-Bareau
  • Francisco de Goya: Maleri, Tegning, Grafikk
    from 10th to April 14th 1996
  • Goya: Prophet der Moderne
    Alte Nationalgalerie
    from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marqués
  • Goya e Italia
    Museo de Zaragoza
    organized by the Fundación Goya en Aragóna, consultant editor Joan Sureda Pons. From June 1st to September 15th 2008
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 177, cat. 132
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 169, cat. 319
    Office du livre
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    José Gudiol
    vol. I, p. 278, cat. 274
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 106, cat. 271
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. II, p. 81
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Goya, toros y toreros
    Pierre Gassier
    pp. 55 y 56 (il.), cat. 4
    Ministerio de Cultura, Comunidad de Madrid
  • Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    Manuela B. (comisaria) Mena Marqués and Juliet (comisaria) Wilson-Bareau
    pp. 191, 192, 193 y 195 (il.), cat. 33
    Museo del Prado
  • Goya e Italia, 2 vols.
    Joan (comisario) Sureda Pons
    vol. I, p. 153 (il.), vol. II, p. 271, c
    Fundación Goya en Aragón y Turner
  • “Moors and the Bullfight: History and National Identity in Goya's Tauromaquia”
    Burlington magazine
    Andrew Schulz
    p. 195
    vol. XC, 2
  • Los mundos de Goya (1746-1828)
    Joan Sureda Pons
    p. 239, il. 144
Enlaces externos
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