Francisco de Goya

Goring of the Picador (Cogida del picador)

Goring of the Picador (Cogida del picador)
Datos Generales
Cronología
1793
Ubicación
British Rail Pension Fundation, London, United Kingdom
Dimensiones
42 x 31 cm
Técnica y soporte
Oil on tin
Reconocimiento de la autoría de Goya
Undisputed work
Titular
British Rail Pension Foundation
Ficha: realización/revisión
28 Apr 2010 / 14 Apr 2021
Historia

This work was painted during Goya's stay in Cádiz. In January 1794 it arrived at the Royal Academy of Fine Arts of San Fernando, Madrid.

After forming part of the collections of Ceán Bermúdez and Lefort it belonged to those of Cotnareanu, in New York, and Coty, in Paris.

Análisis artístico

This is the most tragic scene depicted in the series on bulls and bullfights that Goya painted in 1793. In the middle of a chaotic tangle the bull has caught a picador, impaling him on one of his horns, which can be seen entering his belly and coming out through his buttock. Underneath the bull's raised forelegs we see the fallen horse of the mortally wounded picador. A second picador, riding a black horse, attempts to bring the animal down whilst two other men have the bull by its tail, and are pulling with all their might. But all of their efforts to prevent the tragedy are in vain.

In the background, the stands are partially illuminated. The part in the sun is empty whilst that in the shade is completely packed with spectators. It is possible that the crowd had moved in order to be in the relative cool of the shade, or perhaps this scene is not set on the same day as the other paintings in this same series.

For more information, see Bulls in the Meadow.

 

 

Exposiciones
  • 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. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturas
    Museo Nacional del Prado
    Madrid
    1993
    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
  • Goya: Order and disorder
    Museum of Fine Arts
    2014
Bibliografía
  • Xavier Desparmet Fitz-Gerald
    L'œuvre peint de Goya. 4 vols
    París
    1928-1950
    p. 180, cat. 136
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 169, cat. 322
  • vol. I, p. 278, cat. 277
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    MilanRizzoli
    1974
    p. 106, cat. 274
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    1980-1982
    vol. II, p. 81
  • WILSON-BAREU, Juliet
    Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    MadridMuseo del Prado
    1993
    p. 191, 192, 193 y 197 (il.), cat. 35
  • Jörg Traeger
    Goya. Die Kunst der Freiheit
    MunichVerlag C. H. Beck
    2000
    il. 13
  • Andrew Schulz
    “Moors and the Bullfight: History and National Identity in Goya's Tauromaquia”
    Burlington magazinevol. XC, 2
    London
    2008
    p. 195
  • Joan Sureda Pons
    Los mundos de Goya (1746-1828)
    BarcelonaLunwerg
    2008
    p. 239
Enlaces externos
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