Francisco de Goya

The hard-working Rendón stinging a bull whose fate killed him in the bullring in Madrid (preparatory drawing).

Clasificación
The hard-working Rendón stinging a bull whose fate killed him in the bullring in Madrid (preparatory drawing).
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
Hamburger Kunsthalle, Hamburg, Germany
Dimensiones
187 x 313 mm
Técnica y soporte
Watercolor on ivory
Reconocimiento de la autoría de Goya
Documented work
Titular
Hamburger Kunsthalle
Ficha: realización/revisión
02 Oct 2021 / 22 Jun 2023
Inventario
(Inv. 38534)
Otros títulos:


Historia

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

Line of provenance: [José Atanasio Echeverría, Mexico]; Julian Benjamin Williams, Seville (d. 1866); John Wetherell (?) (d. 1865); Horatio / Nathan Wetherell (?) (until 1874); Frederick William Cosens, London (1874-1890); Sotheby's, London, auction of Frederick William Cosens' estates (11-21 November 1890); Bernard Quaritch Ltd, London (November 1890-July 1891); acquired by the Hamburger Kunsthalle on 14 July 1891.

This is one of the four preparatory drawings for Bullfighting and its Extensions held by the Hamburger Kunsthalle (28a, 32b, Ea and Ka) and one of the few of the series and its extensions not in the Prado Museum, Madrid.

Análisis artístico

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

Preparatory drawing of the print The hard-working Rendón stinging a bull whose fate killed him in the bullring in Madrid. The scene depicts a serious mishap during the suerte de varas, when the picadors punish the bull to weaken it. This preparatory study is very similar to what Goya would later engrave on the plate.

As in the print, we see a bullring full of spectators, although almost all of them are sketchy. Goya only goes into detail on the bull, the picador and the horse in the foreground, especially the postures of the animals, depicted in full fight. The bull is lunging towards the horse, who is turning his head to prevent the bull from charging him and ramming his horns into his neck. At the same time, we can see how the picador is also turned forwards in order to have a better posture and to thrust his pike into the bull. Surrounding the picador and the bull are a series of labourers whose mission is to remove the bull with their capes in order to drive the beast towards the other picador or to keep it away from the horse in case it attacks.

The scene gains in movement in the engraving due to the effect of the light, which gives greater depth to the sand. In the background we can see that Goya has sketched the barrier of the bullring, which some of the figures jump over.

Exposiciones
  • Hamburg
    1966
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Hamburg
    1989
  • Hamburg
    2001
  • Dallas
    2014
  • Hamburg
    2019
Bibliografía
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    1946
    pp. 177-216, espec. pp. 203-204
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    ParísLe Club Français du Livre
    1963
    p. 123
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 279, cat. 1207
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    Barcelona
    1974
    p.17
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    Bibliography']['number
    BarcelonaNoguer
    1975
    pp. 390-391, cat. 270
  • MATILLA, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    2001
    pp. 88-89
  • MATILLA, José Manuel
    Bibliography']['number
    SevillaSociedad Estatal Nuevo Milenio
    2001
    pp. 290-291, cat. 76
  • www.kunsthalle-karlsruhe.de, consulted 13-04-10
    Bibliography']['number
    13-04-10
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