Francisco de Goya

Passes with the Cape (Suerte de capa)

Passes with the Cape (Suerte de capa)
Datos Generales
Cronología
1793
Ubicación
Private collection
Dimensiones
42 x 31 cm
Técnica y soporte
Oil on tin
Reconocimiento de la autoría de Goya
Undisputed work
Titular
Private collection
Ficha: realización/revisión
28 Apr 2010 / 27 Jun 2017
Historia

This work was painted during Goya's stay in Cádiz and was given to the Royal Academy of Fine Arts of San Fernando in January 1794.

Análisis artístico

In a bullring, perhaps that of Madrid, filled with spectators, we see in the foreground a torero who has his back to us and is holding his cape in both hands as the bull lunges past him. According to Gassier, this type of pass was invented in Goya's time by the famous torero José Delgado (1754-1801), better known as "Pepe-Hillo", who described it in his book entitled The Art of Bullfighting or Tauromachy (Arte de torear o La tauromaquia). Behind the bullfighter, a group of bulls are being herded towards the doors to the bullpen by a picador mounted on horseback.

Using deft brushstrokes, Goya has suggested the figures in the stands only very superficially, representing in much greater detail those in the foreground, and especially the torero himself. The dabs of white on his suit create tiny highlights which further contribute to increasing this figure's importance within the scene. The bullfight is taking place in the afternoon, and we can see how the shadow has begun to invade the left-hand side of the stands.

For more information, see Bulls in the Meadow.

 

Exposiciones
  • Goya
    Musée Jacquemart-André
    Paris
    1961
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • 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. El Capricho y la Invención. Cuadros de gabinete, bocetos y miniaturas
    Museo Nacional del Prado
    Madrid
    1993
    from November 18th 1993 to February 15th 1994. Exhibited also at the Royal Academy of Arts, London, March 18th to June 12th 1994 and The Art Institute of Chicago, Chicago, July 16th to October 16th 1994, consultant editors Manuela B. Mena Marqués and Juliet Wilson-Bareau
Bibliografía
  • L'œuvre peint de Goya. 4 vols
    Xavier Desparmet Fitz-Gerald
    p. 178, cat. 133
    1928-1950
  • Vie et ouvre de Francisco de Goya
    Juliet Wilson and Pierre Gassier
    p. 169, cat. 321
    1970
    Office du livre
  • Goya, 1746 – 1828. Biografía, estudio analítico y catálogo de sus pinturas, 4 vols.
    José Gudiol
    vol. I, p. 278, cat. 273
    1970
    Polígrafa
  • L’opera pittorica completa di Goya
    Rita de Angelis
    p. 106, cat. 273
    1974
    Rizzoli
  • Francisco de Goya, 4 vols.
    José Camón Aznar
    vol. II, p. 81
    1980-1982
    Caja de Ahorros de Zaragoza, Aragón y Rioja
  • Goya, toros y toreros
    Pierre Gassier
    pp. 60 y 61 (il.), cat. 6
    1990
    Ministerio de Cultura, Comunidad de Madrid
  • Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    Manuela B. (comisaria) Mena Marqués and Juliet (comisaria) Wilson-Bareau
    p. 191, 192, 193 y 198 (il.), cat. 36
    1993
    Museo del Prado
  • “Moors and the Bullfight: History and National Identity in Goya's Tauromaquia”
    Burlington magazine
    Andrew Schulz
    p. 195, il. 3
    vol. XC, 2
    2008
  • Los mundos de Goya (1746-1828)
    Joan Sureda Pons
    p. 239
    2008
    Lunwerg
Enlaces externos
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