Francisco de Goya

Passes with the Cape (Suerte de capa)

Passes with the Cape (Suerte de capa)
Datos Generales
Private collection
42 x 31 cm
Técnica y soporte
Oil on tin
Reconocimiento de la autoría de Goya
Undisputed work
Private collection
Ficha: realización/revisión
28 Apr 2010 / 14 Apr 2021

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.


  • Goya
    Musée Jacquemart-André
    consultant editor Jean-Gabriel Domergue. From December 1961 to February 1962
  • Goya: toros y toreros
    Espace Van Gogh
    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
    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
  • Xavier Desparmet Fitz-Gerald
    L'œuvre peint de Goya. 4 vols
    p. 178, cat. 133
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    p. 169, cat. 321
  • vol. I, p. 278, cat. 273
  • ANGELIS, Rita de
    L’opera pittorica completa di Goya
    p. 106, cat. 273
  • José Camón Aznar
    Francisco de Goya, 4 vols.
    ZaragozaCaja de Ahorros de Zaragoza, Aragón y Rioja
    vol. II, p. 81
  • Pierre Gassier
    Goya, toros y toreros
    MadridMinisterio de Cultura, Comunidad de Madrid
    pp. 60 y 61 (il.), cat. 6
  • WILSON-BAREU, Juliet
    Goya. El capricho y la invención. Cuadros de gabinete, bocetos y miniaturas
    MadridMuseo del Prado
    p. 191, 192, 193 y 198 (il.), cat. 36
  • Andrew Schulz
    “Moors and the Bullfight: History and National Identity in Goya's Tauromaquia”
    Burlington magazinevol. XC, 2
    p. 195, il. 3
  • Joan Sureda Pons
    Los mundos de Goya (1746-1828)
    p. 239
Enlaces externos
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