Francisco de Goya

Martincho's recklessness in Zaragoza square

Clasificación
Martincho's recklessness in Zaragoza square
Datos Generales
Cronología
1814 - 1816
Dimensiones
246 x 354 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
-
Otros títulos:


Inscripciones
18 (estampado, ángulo superior derecho)
Historia

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

The plate is kept at the National Chalcography (nº 351).

Análisis artístico

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

Third of the five prints of the "extended" version of Bullfighting, dedicated to the exploits of Martincho (Nos. 15, 16, 18, 19 and H). This one focuses specifically on the madness carried out by the bullfighter in a bullfight that took place in Zaragoza and which Goya himself may have attended in his youth. Its composition is remarkable, considering that it changes the point of view he was accustomed to throughout the series, as the Aragonese artist creates unexpected angles of vision for each specific situation and for each of the three characters (bull, bullfighter and spectators) in this engraving.In this case, the bullring barrier can be seen on the left-hand side of the scene, while on the right is the bullfighter seated on a chair with shackles on his feet, ready to kill the bull, who has just come out of the bullring door. The bull, who has seen Martincho, makes the gesture of charging at the bull in front of him. The bullfighter, seated in the saddle, rapier in one hand and hat in the other, looks defiantly at the beast. The audience behind the barrier is watching the action with rapt attention.

Almost the entire scene is tinged with the grey typical of burnished aquatint, except for the bullfighter's jacket, the only point of light in the scene. The darkness of the bull and the shadows on the ground around the figures are particularly striking, although the shadow in the upper left-hand corner is particularly striking, allowing us to focus our attention on the central area of the composition.

The first manuscript title that Goya gave to the print, Killing Seated, with Shackles, typically Goyaesque in its brevity and conciseness, is very precise in relation to the action that Martincho performs: killing the bull while seated and with his feet locked in shackles.

According to Glendinning, the somewhat distorted way in which the faces are treated, which in his opinion implies a criticism of those who participate in one way or another in a bullfight, relates this picture to other Bullfighting pictures such as AAnother Madness of His in the Same Square, Ceballos himself, mounted on another bull, broke rejones in the bullring of Madrid, A bullfighter falls from his horse under the bull, The hard-working Rendón stinging a bull from whose fate he died in the bullring in MadridFire flags, and Two groups of bullfighters run over at once by a single bull.

Sayre, for his part, stresses the bold composition, characterised by the diagonals in the stretcher, and points out that the print is related to the next one, Another Madness of His in the Same Square, by the title.

The print is also closely related to another engraving of similar subject matter that was discarded by Goya but of which three state proofs are known: Fearlessness of Martincho (Bullfighting H).

There is a preparatoryy drawing for this print aldo entitled Martincho's recklessness in Zaragoza square

Conservación

18 (print, upper right-hand corner)

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
  • Goya en tiempos de guerra
    Museo Nacional del Prado
    Madrid
    2008
    consultant editor Manuela B. Mena Marqués, from April 14th to July 13th 2008
  • Bilbao
    2012
  • Goya et la modernité
    Pinacothèque de Paris
    París
    2013
    from October 11st 2013 to March 16th 2014
  • Goya: Order and disorder
    Museum of Fine Arts
    Boston
    2014
  • Zaragoza
    2017
Bibliografía
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    1946
    pp. 177-216, espec. p. 198
  • LUJÁN, Néstor
    Bibliography']['number
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • GLENDINNING, Nigel
    Bibliography']['number
    1961
    pp. 120-127
  • HARRIS, Tomás
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 333, cat. 221
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 278, cat. 1186
  • SAYRE, Eleanor
    The Changing image: Prints by Francisco Goya
    Bibliography']['number
    BostonMuseum of Fine Arts
    1974
    pp. 225-227, cat. 178-179
  • HOLO, Selma Reuben
    Bibliography']['number
    MilwakeeMilwaukee Art Museum
    1986
    pp. 18 y 24
  • GASSIER, Pierre
    Goya, toros y toreros
    Bibliography']['number
    MadridMinisterio de Cultura, Comunidad de Madrid
    1990
    p. 101, cat. 33
  • MARTÍNEZ-NOVILLO, Álvaro
    Bibliography']['number
    MadridCaser-Turner
    1992
    pp. 31-32
  • ANSÓN NAVARRO, Arturo
    Goya y Aragón. Familia, amistades y encargos artísticos
    col. Col. Mariano de Pano y Ruata
    Bibliography']['number
    ZaragozaCaja de Ahorros de la Inmaculada de Aragón
    1995
    p. 225
  • SANTIAGO, Elena M. (coordinadora)
    Catálogo de las estampas de Goya en la Biblioteca Nacional
    Bibliography']['number
    MadridMinisterio de Educación y Cultura, Biblioteca Nacional
    1996
    cat. 339
  • MATILLA, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    2001
    pp. 70-72
  • MATILLA, José Manuel
    Bibliography']['number
    MadridMuseo Nacional del Prado y Ediciones El Viso
    2008
    pp. 426-427, cat. 151
  • OROPESA, Marisa and RINCÓN GARCÍA, Wilfredo
    Bibliography']['number
    ParísPinacoteca de París
    2013
    p. 107
  • ILCHMAN, Frederick y STEPANEK, Stephanie L. (comisarios)
    Goya: Order & Disorder
    Bibliography']['number
    BostonMuseum of Fine Arts Boston Publications
    2014
    p. 170
  • WILSON BAREAU, Juliet
    Goya. In the Norton Simon Museum
    Bibliography']['number
    PasadenaNorton Simon Museum
    2016
    pp. 186-201
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