Francisco de Goya

Mariano Ceballos, alias " The Indian ", kills the bull from his horse (preparatory drawing).

Clasificación
Mariano Ceballos, alias
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
186 x 318 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
02 Oct 2021 / 15 May 2023
Inventario
(D4310)
Inscripciones

11 (in pencil, lower left corner)

Historia

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

This preparatory drawing passed by inheritance in 1828 to Javier Goya, the painter's son, and in 1854 to Mariano Goya y Goicoechea, the artist's grandson. It was subsequently owned by Valentín Carderera (ca. 1861) and Mariano Carderera (1880). In 1886 it was acquired from Mariano Carderera, along with many other drawings by Goya, including almost all the preparatory studies for the Bullfight, by the Directorate General of Public Instruction, and was assigned to the Prado Museum, where it entered on 12 November 1886.

Análisis artístico

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

Preparatory drawing of the print Mariano Ceballos, alias " The Indian ", kills the bull from his horse. When the scene was transferred to engraving, it was slightly modified, especially the background, while the front part remained almost unchanged in terms of figures and composition.

The front or main group, consisting of Mariano Ceballos, his horse and the bull, is notable for its lighting, as the rest of the scene is covered by a kind of glaze in sanguine. Comparing the drawing with the engraving, we can see how the aforementioned effect of darkness or shadow achieved with the sanguine was replicated by Goya in the print using aquatint. In this main group, the good work done with the horse and the bull stands out, as the anatomical study of both animals is of very high quality, as well as the bullfighter's posture, practically on top of the bull, in a very successful unstable position, in order to be able to thrust the sword into him.

Inside the bullring itself, in the background, groups of people can be seen, some of whom remain in the same place in the print, but with different numbers of members.

The drawing was pasted onto a second piece of laid paper belonging to a French army record book in Spain.

Conservación

The paper retains creases from being passed through the press

Exposiciones
  • Goya. Drawings, Etchings and Lithographs
    Goya. Drawings
    London
    1954
    from June 12th to July 25th 1954
  • Goya (1746-1828). Peintures-Dessins-Gravures
    Centre Cultural du Marais
    París
    1979
    consultant editors Jacqueline et Maurice Guillard
  • Goya: Zeichnungen und Druckgraphik
    Städtische Galerie im Städelschen Kunstintitut
    Frankfurt
    1981
    from February 13th to April 5th 1981
  • Goya: toros y toreros
    Espace Van Gogh
    Arles
    1990
    displayed also at Academia de Bellas Artes de San Fernando, Madrid, consultant editor Pierre Gassier.
  • Goya: Malerei, Tegning, Grafikk
    Nasjonal Galleriet
    Oslo
    1996
  • Madrid
    2002
  • 2005
  • Madrid
    2007
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. p. 201
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n.176
  • GLENDINNING, Nigel
    1961
    pp. 120-127
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p. 109
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 279, cat. 1197
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 16
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 380-381, cat. 265
  • LAFUENTE FERRARI, Enrique
    MadridSilex
    1980
    pp. 152-153, cat. 51
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 80-81
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