- Cronología
- Ca. 1814 - 1816
- Ubicación
- The Prado National Museum. Madrid, Madrid, Spain
- Dimensiones
- 184 x 297 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
- (D4303)
21 (in pencil, lower right-hand corner)
unpublished (lower right-hand corner)
[rebacked] (lower right corner)
225 [Envelope sticker] (reverse, lower right)
Engraving (reverse, upper centre)
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.
See How the ancient Spaniards hunted bulls on horseback in the countryside.
Preparatory drawing for the print Recklessness of Martincho (Bullfighting H) a print that was not included in the official Bullfighting series, although three state proofs of it have been preserved, but not the plate.
The drawing is very similar to the surviving state proofs, as it was transferred with remarkable fidelity to the plate. Martincho, as in the state trials, is seated on a chair in the middle of the bullring, about to go in to kill the bull in front of him. He is holding a cape in his left hand and the rapier with which he is going to go in for the kill in his right. In the background, a number of characters can be glimpsed, sketched quickly and without any detail, greatly simplifying the composition, who will later be reduced in number and grouped together in the state of the bullfight.
In terms of lighting, the preparatory drawing is more similar to the two proofs of the third state, in which the aquatint is already included in the arena of the bullring, so that only the lower right-hand corner and part of the bull and the bullfighter are illuminated.
The paper retains creases from being passed through the press.
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Madrid2002
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1868p. 176
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1941pp. 186 y 191-192
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1946pp. 177-216, espec. p. 214
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BarcelonaTartessos-F. Oliver Branchfelt1946 (reed. 1951)
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ParísLe Club Français du Livre1963p. 184
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OxfordBruno Cassirer1964vol. II, 1964, p. 358, cat. 244
Bibliography']['number
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Vie et ouvre de Francisco de GoyaBibliography']['numberParísOffice du livre1970p. 281, cat. 1234
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Barcelona1974pp. 20-21
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Dibujos de Goya, 2 volsBibliography']['numberBarcelonaNoguer1975pp. 418-419, cat. 284
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Goya y Aragón. Familia, amistades y encargos artísticoscol. Col. Mariano de Pano y RuataBibliography']['numberZaragozaCaja de Ahorros de la Inmaculada de Aragón1995p. 225
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MadridMuseo Nacional del Prado2001pp. 107-108
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- Bibliography']['number