Francisco de Goya

Origin of harpoons or spears

Clasificación
Origin of harpoons or spears
Datos Generales
Cronología
1814 - 1816
Dimensiones
245 x 352 mm
Técnica y soporte
Aguafuerte, aguatinta, punta seca y bruñidor
Reconocimiento de la autoría de Goya
Documented work
Ficha: realización/revisión
01 Oct 2021 / 22 Jun 2023
Inventario
-
Inscripciones

7(print, upper right-hand corner)

Historia

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

Lafuente Ferrari points out the existence of a print of a copy of the Bullfighting prior to the first edition. No proofs of condition have been preserved.

The plate is kept at the National Chalcography, with Varilarguero on the shoulders of a pimp, stinging a bull (Tauromaquia D) print on the reverse.

Análisis artístico

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

The print is part of the subgroup, within the group of "historical" scenes of bullfighting (Nos. 1-11), dedicated to the bullfighting of the Moors (Nos. 3-8 and 17). Just as in The Moors are doing another bullfight in the square with their dressing gown, the scene takes place in a fenced enclosure, which can be glimpsed in the background and through which a crowd of people can be seen. At the same time, inside the fence there are two Moors seated facing the bullring where the bullfight is taking place, with another Moor quoting the bull with his left hand while with his right he holds a harpoon or spear which he prepares to stab the animal, which, in a totally static attitude and in side profile, is placed in front of him. Two other Moors observe the bullfight behind the one who is performing it.

Lafuente Ferrari comments that the use of a single spear goes back to the origins of bullfighting, as two spears would later be used.

There are certain differences with the preparatory drawing, also entitled Origin of harpoons or spears, especially in the background and in the spear.

 

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
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
Bibliografía
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    1946
    pp. 177-216, espec. pp. 185 y 190-191
  • HARRIS, Tomás
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    vol. II, 1964, pp. 320, cat. 210
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 277, cat. 1161
  • GASSIER, Pierre
    Goya, toros y toreros
    Bibliography']['number
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 90, cat. 21
  • MATILLA, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    2001
    pp. 51-53
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    Bibliography']['number
    ParísPinacoteca de París
    2013
    p. 103
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    Bibliography']['number
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
Volver
Usamos cookies propias y de terceros para mejorar su navegación. Si continua navegando consideramos que acepta el uso de cookies.