Francisco de Goya

Pepe Illo making the cut to the bull (preparatory drawing)

Clasificación
Pepe Illo making the cut to the bull (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
190 x 292 mm
Técnica y soporte
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
03 Oct 2021 / 22 Jun 2023
Inventario
(D4315)
Otros títulos:


Inscripciones

19 (in pencil, lower left-hand 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 for the print Pepe Illo making the cut to the bull . It is a drawing full of characters and movement, which later underwent certain modifications when it was transferred to the plate. Essentially, the composition here is retained in the print, but the chiaroscuro effect is accentuated.

In the drawing we can see how in the foreground Pepe Illo is doing a "remove" with his hat to the bull, who is looking at him furiously. The animal is masterfully drawn, depicted in a great foreshortened view. In this case the banderillas are stuck higher than in the engraving, and it is much more illuminated than in the engraving, in which it will be darkened. The group of banderilleros and labourers on the right is less numerous than it will later be on the plate. There are also two figures to the left of the picadors in the background that will later be eliminated in the engraving. The barrier of the bullring and the bullrings with the audience are depicted by Goya in a similar way in the print, with the figures sketched as here, without dwelling too much on them, simply drawing silhouettes.

The present 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. Exposition de l’oeuvre gravé, de peintures, de tapisseries et de cent dix dessins du Musée du
    Bibliothèque nationale de France
    París
    1935
Bibliografía
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    1946
    pp. 177-216, espec. p. 204
  • SÁNCHEZ CANTÓN. Francisco Javier
    Bibliography']['number
    MadridMuseo del Prado
    1954
    cat. 181
  • GLENDINNING, Nigel
    Bibliography']['number
    1961
    pp. 120-127
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    ParísLe Club Français du Livre
    1963
    p.128
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 279, cat. 1209
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    Barcelona
    1974
    p. 17
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    Bibliography']['number
    BarcelonaNoguer
    1975
    pp. 392-393, cat. 271
  • MATILLA, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    2001
    pp. 90-91
  • Bibliography']['number
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