Francisco de Goya

The celebrated American, Mariano Ceballos

Clasificación
The celebrated American, Mariano Ceballos
Datos Generales
Cronología
1825
Dimensiones
330 x 405 mm
Técnica y soporte
Piedra litográfica, lápiz y rascador, tinta negra, papel avitelado
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
18 Feb 2011 / 24 May 2023
Inventario
225
Inscripciones

Goya (bottom left)

Déposé. (bottom edge, left)

Lith. De Gaulon. (bottom edge, right).

Historia

See The mourning 

Together with Brave bull, Spanish entertainment, Bullfight in a divided ring  and Bullfight,  it forms part of the series "The Bulls of Bordeaux", printed by the printer Gaulon de Gaulon in his establishment in rue Saint Rémy in Bordeaux, of which there is only one proof in the Museum of Fine Arts in Bordeaux) was of one hundred copies, intended - as we know from a letter addressed to his friend Joaquín Ferrer - for sale to Spanish exiles in Bordeaux and in Spain, which is why the titles appear in Spanish.

Análisis artístico

See The mourning 

In all the prints in the serie, the expressive drama is full, with deformations and an impetuous rhythm in the coposition. The contrasts of light and shade accentuate the fury violence of the scene. The clamour, agitation, bustle and barbarity of the bulls also have a point of censure towards all savagery. Goya sees the bullfighting festival as an exalted and distant reminder of Spain. Despite being a work by an octogenarian artist, it is full of youthful verve, vigour and enthusiasm.

In the first print of the serie, the protegonist is a mixed-race bullfighter of unknown origin (he could be Argentinian or Peruvian), famous for his spectacles in which he would saddle or ride bulls for bullfighting, whom Goya depicted in prints of Bullfighting such as number 23, Mariano Ceballos, aka El Indio, kills the bull from his horse, number 24 The same Ceballos riding a bull on another bull that broke the horns in the bullring of Madrid and the letter J, Mariano Ceballos riding a bull breaks half spears. In this case, he appears riding a black bull, previously roped and saddled, ready to thrust a lancing sword into another animal with a lighter coat. He creates a circle of bullfighters and spectators who, thrilled by the spectacle, crowd around the bullfight. A central circle of light gives luminosity and contrast to the scene, leaving the audience between light and shadow. With the scraper he draws lines with which he outlines the figure of the bull to give it movement.

Exposiciones
  • Goya. Das Zeitalter der Revolucionen. Kunst um 1800 (1980 – 1981)
    Hamburger Kunsthalle
    Hamburg
    1980
  • Goya: toros y toreros
    Espace Van Gogh
    Arles
    1990
    displayed also at Academia de Bellas Artes de San Fernando, Madrid, consultant editor Pierre Gassier.
  • Ydioma universal: Goya en la Biblioteca Nacional
    Biblioteca Nacional
    Madrid
    1996
    from September 19th to December 15th 1996
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
Bibliografía
  • HARRIS, Tomás
    Goya engravings and lithographs, vol. I y II.
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    p. 425, cat. 283
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 363, cat. 1707
  • HOFMANN, Werner (ed.)
    Goya, Das Zeitalter de Revolutionen. 1789-1830
    Bibliography']['number
    HamburgPrestel-Verlag Münche und Hamburger Kunsthalle
    1980
    p. 297
  • VEGA, Jesusa
    Origen de la litografía en España. El real establecimiento litográfico
    Bibliography']['number
    MadridFabrica Nacional de Moneda y Timbre
    1990
    p. 363, cat. 34
  • GASSIER, Pierre
    Goya, toros y toreros
    Bibliography']['number
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 146
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    p. 260, cat.408
  • CARRETE PARRONDO, Juan
    Goya. Estampas. Grabado y litografía
    Bibliography']['number
    BarcelonaElecta ediciones
    2007
    pp. 40-44, 342 y 374, núm. 278
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    Bibliography']['number
    BostonMuseum of Fine Arts Boston Publications
    2014
    p. 172
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    Bibliography']['number
    PasadenaNorton Simon Museum
    2016
    p. 138
Enlaces externos
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.