The celebrated American, Mariano Ceballos

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.