Francisco de Goya

Disembowelment of the rogue with spears, crescent moons, banderillas and other weapons

Clasificación
Disembowelment of the rogue with spears, crescent moons, banderillas and other weapons
Datos Generales
Cronología
1814 - 1816
Dimensiones
251 x 353 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca y bruñidor
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones

12 (print, upper right-hand corner)

Historia

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

There is a state proof of this same print that Goya made before numbering the plate and applying the aquatint.

The plate is kept at the National Chalcography (nº 345).

Análisis artístico

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

Several figures are harassing a bull with spears and other sharp instruments, which is crouched and looking at them in the centre of the composition. The bodies of two men lie on the ground, probably because they have been run over by the bull. There are no elements to help us locate the scene in any particular place.

It represents a cruel practice, inspired by the custom of finishing off the bull at the hands of popular gangs in exchange for a modest stipend. If the bull did not die soon or was in poor condition, it was left to these groups, made up of all kinds of low-life individuals, who finished it off in the bullring.

Lafuente Ferrari related the print to the Disasters of War and the Absurdities because of the harshness of the scene, the faces of some of the figures, which resemble those of other individuals depicted in those series, and the way they surround the bull, reminiscent of the attitude of the aggressive crowds in both series.He also compares the engraving with the preparatory drawing for it, also entitled Disembowelment of the rogue with spears, crescent moons, banderillas and other weapons, detecting certain differences between the two. The main difference is that in the engraving the number of figures in the background of the drawing was reduced, although the two individuals lying on the ground and the black figure were added. Glendinning, for his part, relates this print to the depiction of human barbarism.

The work is remarkable for the successful contrast between the dignity of the bull and the lowliness of the members of the gang who are trying to kill it. The way in which Goya presents the figures in the background, more blurred, enhances the perspective of the engraving.

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
  • 1984
  • Madrid
    1987
  • Madrid
    1990
  • 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
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Bilbao
    2012
  • Goya luces y sombras
    CaixaForum
    Barcelona
    2012
    consultant editors José Manuel Matilla and Manuela B. Marqués. From March 16th to June 24th 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. 192-193
  • GLENDINNING, Nigel
    Bibliography']['number
    1961
    pp. 120-127
  • HARRIS, Tomás
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 326, cat. 215
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 277, cat. 1174
  • GASSIER, Pierre
    Goya, toros y toreros
    Bibliography']['number
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 95, cat. 26
  • MARTÍNEZ-NOVILLO, Álvaro
    Bibliography']['number
    MadridCaser-Turner
    1992
    p. 31
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 333
  • SANTIAGO PÁEZ, Elena y WILSON-BAREAU, Juliet (comisarias)
    Ydioma universal: Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridBiblioteca Nacional, Sociedad Estatal Goya 96 y Lunwerg
    1996
    p. 252
  • MATILLA, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    2001
    pp. 60-61
  • MATILLA, José Manuel
    Bibliography']['number
    MadridMuseo Nacional y Ediciones El Viso
    2008
    pp. 416-418, cat. 145 y 146
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    Bibliography']['number
    ParísPinacoteca de París
    2013
    p.105
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    Bibliography']['number
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.