Francisco de Goya

The very dexterous student from Falces, wearing a mask, teases the bull with his "quiebros".

Clasificación
The very dexterous student from Falces, wearing a mask, teases the bull with his
Datos Generales
Cronología
1814 - 1816
Dimensiones
247 x 355 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca y buril
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 23 Feb 2023
Inventario
-
Inscripciones

14 (print, upper right-hand corner)

Goya (print, bottom left)

Historia

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

There is a condition test carried out before applying the aquatint and the engraving.

The plate is kept at the National Chalcography (nº 347).

Análisis artístico

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

With this engraving Goya began his evocation of well-known bullfighting figures, taking as his starting point texts narrating their exploits. In this case, the scene depicts a duel between the bull and a man on foot, known as the student of Falces, who faces the bull without removing his cape, which covers him completely. If in the previous scenes the fight was between the horse and the bull, here the fight is between the man and the animal.

One again, the composition is repeated. In the center of the scene, completely delimited, we find the main couple, made up of the bullfighter and the bull, while in the background we see, or intuit, the audience attending the bullfight. It is striking how the lighting emphasises the animal, as it is mainly focused on him.

The scene is very dynamic, both for the bull and for the student, whose broken movements are more marked by the cape. In fact, he seems to have been depicted performing a cut on the bull. According to the chroniclers of the time, he made the bull surrender several times without leaving the enclosure marked out by himself in the arena and without even unbuttoning his cape.

Martínez-Novillo includes this engraving among those that deal with particular suertes, featuring bullfighters from Navarre and Aragon.


In these scenes, according to Holo, Goya reflects a wide variety of situations depicting renowned bullfighters, animal abuse and often irrational behaviour, all in the light of the Enlightenmen.

Lafuente Ferrari highlights both this print and the one immediately before it, entitled A Spanish Gentleman in the Bullring breaking the "rejoncillos" without the help of the pimps, as well as the later one, entitled The Famous Martincho putting flagpoles at the break, for their treatment of light and space within the Bullfighting series.

There is a preparatory drawing for this print, also entitled The very dexterous student from Falces, wearing a mask, teases the bull with his "quiebros".

 

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
  • 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
  • Schlaf der Vernunft. Original radierungen von Francisco de Goya
    Munich
    2000
  • Madrid
    2002
  • Madrid
    2002
  • Bilbao
    2012
  • Zaragoza
    2017
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. pp. 185 y 194-195
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • HARRIS, Tomás
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 328, cat. 217
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1178
  • HOLO, Selma Reuben
    MilwakeeMilwaukee Art Museum
    1986
    pp. 23-24
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    p. 31
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 335
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 63-65
  • MATILLA, José Manuel
    MadridMuseo Nacional del Prado y Ediciones El Viso
    2008
    pp. 424-425, cat. 150
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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