Francisco de Goya

Charles V lancing a bull in the bullring of Valladolid

Clasificación
Charles V lancing a bull in the bullring of Valladolid
Datos Generales
Cronología
1814 - 1816
Dimensiones
250 x 351 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca, buril y bruñidor
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones

10  (print, upper right-hand corner)

Goya (vertical, embossed, lower left-hand corner)

Historia

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

There is a state proof, made before aquatint and burnisher, in the Dutuit collection, Musée du Petit Palais, Paris.

The plate is kept at the National Chalcography.

Análisis artístico

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

The print is part of the subgroup, composed of four prints, dedicated to the origin and chivalrous nature of bullfighting on horseback (nos. 9-11 and 13). Perhaps it corresponds to a historical event referred to both by Nicolás Fernández de Moratín ('Historical Letter...') and by Pepe Hillo ('Bullfighting...') and José Vargas Ponce ('Dissertation...'), which took place in July 1527 during the festivities organised in Valladolid to celebrate the birth of the heir of the Emperor Charles V (Charles I of Spain), the future King Philip II.

This is a very dynamic composition for which Goya made three preparatory drawings with variations in pose and lighting, although the print is very simple, with the two protagonists standing out against a neutral background, without spatial references and worked only with tonal gradations of aquatint: the rider on his mount and the bull, facing in opposite directions. The bull, with his back to the spectator, turns his head towards the horse, and the rider, raised in the stirrups and slightly bent over for extra strength, lances the bull while holding the bridle of his mount.

Sayre emphasises the theatrical effect achieved with the play of light and shadow in the aquatint.

Several authors have pointed out the anachronism of Charles V's clothing, citing the custom of fighting in old-fashioned dress, and some have stressed the fact that Goya places this picture before that of the Cid, which would break the chronological order of the events depicted.

Exposiciones
  • Grabados y dibujos de Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1946
    catalogue Elena Páez Ríos
  • Boston
    1974
  • 1975
  • 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
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • 1984
  • Madrid
    1987
  • Goya: toros y toreros
    Espace Van Gogh
    Arles
    1990
    displayed also at Academia de Bellas Artes de San Fernando, Madrid, consultant editor Pierre Gassier.
  • 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
  • Zaragoza
    1996
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Bilbao
    2012
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Zaragoza
    2017
Bibliografía
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    1946
    pp. 177-216, espec. pp. 185 y 191-192
  • HARRIS, Tomás
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    vol. II, 1964, pp. 323-324, cat. 213
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 277, cat. 1167
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    Bibliography']['number
    BostonMuseum of Fine Arts
    1974
    pp. 218-221, cat. 170-173
  • HOFMANN, Werner (ed.)
    Goya, Das Zeitalter de Revolutionen. 1789-1830
    Bibliography']['number
    HamburgPrestel-Verlag Münche und Hamburger Kunsthalle
    1980
    p. 296
  • GASSIER, Pierre
    Goya, toros y toreros
    Bibliography']['number
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 93
  • MARTÍNEZ-NOVILLO, Álvaro
    Bibliography']['number
    MadridCaser-Turner
    1992
    pp. 30 y 39
  • MATILLA, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    2001
    pp. 56-58
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    Bibliography']['number
    ParísPinacoteca de París
    2013
    p. 104
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    Bibliography']['number
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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