A bullfighter falls from his horse underneath the bull.

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

This print depicts a scene that frequently took place in the bullfights of the time: the bull charges at the picador, who falls from his horse and falls under the bull's legs, suffering its trampling. We can see how the bull has stuck its horns into the horse, disembowelling it in the middle of the bullring. The four peons are trying to move the bull from his place so that they can pull the picador out from under him. Behind the barrier, on the right, a small group of people can be seen, the rest of the seats being empty, a device used by Goya in other prints of Bullfighting (nos. 13, 20, 22 and 30). Among the audience is a figure who seems to be laughing at the moment he is witnessing.

The lighting of the scene is reminiscent of others in the series, such as Juanito Apiñani's Lightness and Daring in Madrid, as Goya manages to convey the sensation of suffocating heat in the afternoon, with the sun high in the sky, due to the great luminosity and the scant shadow cast on the floor of the square, and because some of the figures who appear there are wearing wide-brimmed hats to protect themselves from the sun.

For Lafuente Ferrari, this print is one of those that depict bullfighting incidents without historical accuracy, and he points out that there is another, rejected by Goya, that repeats the theme, Unfortunate charge of a powerful bull  (Bullfighting B). Luján, for his part, speaks of a central, harmonious composition and emphasises the fine line of the bull and the tense gestures of the bullfighters.

Martínez-Novillo includes this print among those depicting the suerte de varas and its incidents (Nos. 22, 26, 27, 28, 32 and B), a set not very popularly appreciated but which in his opinion constitutes the most personal, heartfelt and critical contribution to Bullfighting. For him, Goya's scenes stand out for their verism and harshness, both conceptually and plastically, which in his opinion brings him closer to anti-bullfighting literature. The sense of reality prevails over Goya's probable fondness for bullfighting.

This print will have its correlate in another by Picasso, who will be greatly influenced by this series.

There is a preparatory drawing of this engraving, also titled A bullfighter falls from his horse underneath the bull.