- 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.
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.
GoyaMusée Jacquemart-AndréParis1961consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
Goya: toros y torerosEspace Van GoghArles1990displayed also at Academia de Bellas Artes de San Fernando, Madrid, consultant editor Pierre Gassier.cat. 4
Goya. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturasMuseo Nacional del PradoMadrid1993from 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-Bareaucat. 33
Francisco de Goya: Maleri, Tegning, GrafikkNasjonalgallerietOslo1996from 10th to April 14th 1996cat. 10
Goya: Prophet der ModerneAlte NationalgalerieBerlin2005from July 13th to October 3th 2005. Exhibitied also at the Kunsthistorischemuseum, Vienna, October 18th 2005 to January 8th 2006, consultant editor Manuela B. Mena Marquéscat. 27
Goya e ItaliaMuseo de ZaragozaZaragoza2008organized by the Fundación Goya en Aragóna, consultant editor Joan Sureda Pons. From June 1st to September 15th 2008cat. 218
L'œuvre peint de Goya. 4 volsp. 177, cat. 1321928-1950
Vie et ouvre de Francisco de Goyap. 169, cat. 3191970Office du livre
Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.vol. I, p. 278, cat. 2741970Polígrafa
L’opera pittorica completa di Goyap. 106, cat. 2711974Rizzoli
Francisco de Goya, 4 vols.vol. II, p. 811980-1982Caja de Ahorros de Zaragoza, Aragón y Rioja
Goya, toros y torerospp. 55 y 56 (il.), cat. 41990Ministerio de Cultura, Comunidad de Madrid
Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturaspp. 191, 192, 193 y 195 (il.), cat. 331993Museo del Prado
Goya e Italia, 2 vols.vol. I, p. 153 (il.), vol. II, p. 271, c2008Fundación Goya en Aragón y Turner
“Moors and the Bullfight: History and National Identity in Goya's Tauromaquia”Burlington magazinep. 195vol. XC, 22008
Los mundos de Goya (1746-1828)p. 239, il. 1442008Lunwerg