Francisco de Goya

A bullfighter entering to kill with a hat in his hand instead of a muleta (Bullfighting I) (preparatory drawing)

Clasificación
A bullfighter entering to kill with a hat in his hand instead of a muleta (Bullfighting I) (preparatory drawing)
Datos Generales
Cronología
Ca. 1814 - 1816
Ubicación
The Prado National Museum. Madrid, Madrid, Spain
Dimensiones
185 x 322 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
(D4326)
Otros títulos:


Inscripciones

5 [...] (recto, lower left-hand side)

248 [adhesive envelope] ( verso, lower part)

248 [envelope fragment of paper adhered, cut] (verso, upper right side)

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 for the print A bullfighter entering to kill with a hat in his hand instead of a muleta (Bullfighting I) , a print that was not included in the official series of the Bullfighting , although two state proofs of it have been preserved, but not the plate.

As in the two state trials, the scene is one of great confusion, something that Gassier believes corresponds to Goya's desire to reflect the reality of the suerte de matar. The arena is full of people and horses, one of them dead, and there is a wounded picador in the background. Two other picadors are also shown motionless on their mounts, also in the background, and the rest of the cuadrilla is ready to perform. The most prominent point in the drawing is occupied by the bullfighter, who is preparing to enter to kill with a rapier in his right hand and a hat in his other hand instead of a muleta, the risk being consequently greater because the bull can charge more easily. In the background of the scene we see the bullring outlined. The light falls especially on the dead horse and the bull, illuminating more the front part of the drawing which, as the two preserved state proofs show, was transferred to the plate, and therefore to the print, with remarkable fidelity.

Conservación

The paper still has creases from the press.

Exposiciones
  • 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
    1990
  • Madrid
    2005
Bibliografía
  • BERUETE Y MORET, Aureliano
    Bibliography']['number
    MadridBlass S.A.
    1918
    p. 140
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    1941
    pp. 185-186
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    1946
    pp. 177-216, espec. pp. 214-215
  • LUJÁN, Néstor
    Bibliography']['number
    BarcelonaTartessos-F. Oliver Branchfelt
    1946 (reed. 1951)
  • SÁNCHEZ CANTÓN. Francisco Javier
    Bibliography']['number
    MadridMuseo del Prado
    1954
    cat. 189
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    ParísLe Club Français du Livre
    1963
    p. 187
  • HARRIS, Tomás
    Bibliography']['number
    OxfordBruno Cassirer
    1964
    vol. II, 1964, p. 359, cat. 245
  • GASSIER, Pierre y WILSON, Juliet
    Vie et ouvre de Francisco de Goya
    Bibliography']['number
    ParísOffice du livre
    1970
    p. 281, cat. 1236
  • LAFUENTE FERRARI, Enrique
    Bibliography']['number
    Barcelona
    1974
    p.21
  • GASSIER, Pierre
    Dibujos de Goya, 2 vols
    Bibliography']['number
    BarcelonaNoguer
    1975
    pp. 420-421, cat. 285
  • HOLO, Selma Reuben
    Bibliography']['number
    MilwakeeMilwaukee Art Museum
    1986
    p. 20
  • CANO CUESTA, Marina
    Goya en la Fundación Lázaro Galdiano
    Bibliography']['number
    MadridFundación Lázaro Galdiano
    1999
    p. 186, cat. 43
  • MATILLA, José Manuel y MEDRANO, José Miguel
    Bibliography']['number
    MadridMuseo Nacional del Prado
    2001
    p. 108
  • Bibliography']['number
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