Francisco de Goya

Martincho's temerity in the square of Zaragoza (preparatory drawing)

Clasificación
Martincho's temerity in the square of Zaragoza (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
186 x 269 mm
Técnica y soporte
Pencil and sanguine on laid paper
Reconocimiento de la autoría de Goya
Documented work
Titular
El Prado National Museum
Ficha: realización/revisión
01 Oct 2021 / 15 May 2023
Inventario
(D4304)
Inscripciones

22 (superimposed on top of a smaller 22, 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 Martincho's temerity in the square of Zaragoza. In it we see the famous Aragonese bullfighter Martincho seated on a chair in the middle of the ring with shackles on his feet, about to kill the bull, which seems to be about to charge him, in this case in the Zaragoza bullring.

The drawing shows certain differences with respect to what Goya would later transfer to the plate, although the general composition remains the same. Thus, the diagonal created by the barrier on the left-hand side will remain in the engraving, as will the posture of the figures. On the other hand, the drawing shows a character who will not appear in the engraving: a young man trying to climb over the barrier, a barrier that is barely glimpsed here and which in the print will be more clearly defined and full of spectators. Goya also changed the bullfighter's hairstyle, who here appears with a hairnet, while in the plate he recorded him with his hair loose. The perspective will also be different in the print, as the scene will appear to be seen from the stands, which will be accentuated by squeezing the spectators behind the barrier so that they do not miss Martincho's madness.

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
  • Boston
    1974
  • 1975
  • Los dibujos de Goya
    Museo Provincial de Zaragoza
    Zaragoza
    1978
    exhibition organized by Museo Provincial de Zaragoza, Ministerio de Cultura and Ayuntamiento de Zaragoza, exhibition guide written by Miguel Beltrán Lloris and Micaela Pérez Sáenz. October 1978
  • Madrid
    2002
  • La memoria de Goya
    Museo de Zaragoza
    Zaragoza
    2008
    organized by Fundación Goya en Aragón, consultant editor Juan Carlos Lozano López. From February 7th to April 6th 2008
  • Madrid
    2019
Bibliografía
  • LAFUENTE FERRARI, Enrique
    1946
    pp. 177-216, espec. p. 198
  • SÁNCHEZ CANTÓN. Francisco Javier
    MadridMuseo del Prado
    1954
    n. 170-171
  • LAFUENTE FERRARI, Enrique
    ParísLe Club Français du Livre
    1963
    p.95
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    ParísOffice du livre
    1970
    p. 278, cat. 1187
  • LAFUENTE FERRARI, Enrique
    Barcelona
    1974
    p. 15
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    BostonMuseum of Fine Arts
    1974
    pp. 225-227, cat. 178-179
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    BarcelonaNoguer
    1975
    pp. 370-371, cat. 260
  • LAFUENTE FERRARI, Enrique
    El mundo de Goya en sus dibujos
    MadridUrbión
    1979
    pp. 191-193
  • MARTÍNEZ-NOVILLO, Álvaro
    MadridCaser-Turner
    1992
    pp. 31-32
  • ANSÓN NAVARRO, Arturo
    Goya y Aragón. Familia, amistades y encargos artísticos
    col. Col. Mariano de Pano y Ruata
    ZaragozaCaja de Ahorros de la Inmaculada de Aragón
    1995
    p. 225
  • MATILLA, José Manuel y MEDRANO, José Miguel
    MadridMuseo Nacional del Prado
    2001
    pp. 70-72
  • MATILLA, José Manuel y MENA, Manuela B. (comisarios)
    MadridMuseo Nacional del Prado
    2019
    pp. 218-219
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