La Tauromaquia (Bullfighting) is a series of 33 prints created by the Spanish painter and printmakerFrancisco Goya, which was published in 1816. The works of the series depict bullfighting scenes. There are also seven extra prints that were not published in the original edition.
Νο.18: The Daring of Martincho in the Ring at Zaragoza, etching and aquatint 24,5 × 35,5 cm. In this work from La Tauromaquia a famous bullfighter is depicted sitting on a chair and with feet shackled together while facing the attacking bull. Here, Goya ignores – partly – the laws of perspective, depicting the viewers in a rather unusual way in order to give more dynamism to the work.Self-portrait, 1790–1795, oil on canvas, 42 × 28 cm. In this painting Goya depicts himself in a bullfighter's suit
Spanish entertainment, 1825, lithograph, 30 × 41 εκ., Madrid, National Library. In this work from The Bulls of Bordeaux series, Goya presents bullfighting as a way of popular entertainment, and not as a violent event, as he does in Tauromaquia.
Goya created Tauromaquia between 1815 and 1816, at the age of 69, during a break from his famous series The Disasters of War. The Disasters of War and the Caprichos, the series he had created previously, served as visual criticism on subjects concerning war, superstition, and contemporary Spanish society generally, including anticlerical scenes. Because of their sensitive subjects, few people had seen these works during Goya's lifetime.
Bullfighting was not politically sensitive, and the series was published at the end of 1816 in an edition of 320—for sale individually or in sets—without incident. It did not meet with critical or commercial success.[1] Goya was always charmed by bullfighting, a theme that obviously inspired him, since it was the subject of many of his works: in a self-portrait (c 1790–1795) he depicted himself in a bullfighter's suit; in 1793 he completed a series of eight paintings on tinplate, created for the Royal Academy of Fine Arts of San Fernando, which depicted scenes from bulls' lives from the moment of their birth to the time they enter the bullring; in 1825 he made the series Los toros de Burdeos (The Bulls of Bordeaux; 1825), of which Delacroix purchased a copy.[2] Indicative of his love for bulls is the fact that he signed one of his letters as Francisco de los Toros (Francisco of the Bulls).[3][4]
The worksedit
Goya used mainly the techniques of etching and aquatint in this series. The artist focuses on the violent scenes that take place in the bullring and the daring movements of the bullfighters. The events are not presented as they are viewed by a viewer in the stands, but in a more direct way, in contrast with The Bulls of Bordeaux where the events are presented as a means of popular entertainment.[5]
Interpretationsedit
Janis Tomlinson, an internationally recognized art historian and Goya scholar, recognizes that in plate No. 33, "[t]he eventually published title, identifies the bull fighter as Pepe Illo. A fighter who met end in the ring of Madrid in May 1801".[6] The name, Pepe, is a diminutive for the name Joseph. It is interpreted that Pepe represents Joseph Bonaparte, the former king of Spain.
Goya - La desgraciada muerte de Pepe Illo en la plaza de Madrid
Worksedit
Νο. 1: Modo con que los antiguos Espanoles cazaban los toros a caballo en el campo ("Way the ancient Spanish hunted the bulls on horse in the field")
Νο. 2: Otro modo de cazar a pie ("Another way of hunting on foot")
Νο. 3: Los moros establecidos en España, prescindiendo de las supersticiones de su Alcorán, adoptaron esta caza y arte, y lancean un toro en el campo. ("The Moors established in Spain, prescinding of the superstitions of their Quran, adopted this hunt and art, and they spear a bull on the field")
Νο. 4: Capean otro encerrado ("Another one is caped")
Νο. 5: El animoso moro Gazul es el primero que lanceó toros en regla ("The animous Moor Gazul was the first to spear bulls in horseback")
Νο. 6: Los Moros hacen otro capeo en plaza con su albornoz ("The Moors do another caping in the plaza with their bournouses")
Νο. 7: Origen de los arpones o banderillas ("Origin of the harpoons or banderillas")
Νο. 8: Cogida de un moro estando en la plaza ("A Moor getting caught while in the plaza")
Νο. 9: Un caballero español mata un toro después de haber perdido el caballo ("A Spanish knight kills a bull after his horse is wounded")
Νο. 10: Carlos V. lanceando un toro en la plaza de Valladolid" ("Carlos V spearing a bull in the plaza of Valladolid")
Νο. 11: El Cid Campeador lanceando otro toro ("El Cid spearing another bull")
Νο. 12: Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas ("Slashing of the leg with spears, half-moons, banderillas, and other weapons")
Νο. 13: Un caballero español en plaza quebrando rejoncillos sin auxilio de los chulos (A Spanish knight in the plaza, breaking his spears without being helped by the "chulos")
Νο. 14: El diestrisimo estudiante de Falces, embozado, burla al toro con sus quiebros ("The dexterous student of Falces, embossed, tricks the bull with his breaks")
Νο. 15: El famoso Martincho poniendo banderillas al quiebro ("The famous Martincho putting banderillas while breaking")
Νο. 16: El mismo vuelca un toro en la plaza de Madrid ("He turns a bull upside down by himself in Madrid's plaza")
Νο. 17: Palenque de los moros hecho con burros para defenderse del toro embolado ("Palisade of the Moors made with donkeys to defend themselves of the enraged bull")
Νο. 18: Temeridad de Martincho en la plaza de Zaragoza ("Temerity of Martincho in Zaragoza's plaza")
Νο. 19: Otra locura suya en la misma plaza ("More of his madness in the same plaza")
Νο. 20: Ligereza y atrevimiento de Juanito Apiñani en la de Madrid ("Lightness and boldness of Juanito Apiñani in Madrid's ("plaza"))
Νο. 22: Valor varonil de la celebre Pajuelera en la de Zaragoza ("Manly valour of the celebrity Pajuelera in Zaragoza's ("Plaza") )
Νο. 23: Mariano Ceballos, alias "El Indio", mata el toro desde su caballo ("Mariano Ceballos, AKA "The Indian", kills the bull while riding his horse")
Νο. 24: El mismo Ceballos montado sobre otro toro quiebra rejones en la plaza de Madrid ("The same Ceballos, riding another bull, breaks the "rejones" in Madrid's Plaza")
Νο. 25: Echan perros al toro ("Dogs are sicced on the bull")
Νο. 26: Caida de un picador de su caballo debajo del toro ("A "picador" falls from his horse, and beneath the bull")
Νο. 27: El celebre Fernando del Toro, barilarguero, obligando a la fiera con su garrocha ("The celebrity Fernando del Toro, "varilarguero", forcing the beast with his "garrocha")
Νο. 28: El esforzado Rendón picando un toro, de cuya suerte murió en plaza de Madrid ("The vigorous Rendón stings a bull, who luckily died in Madrid's plaza")
Νο. 29: Pepe Illo haciendo el recorte al toro ("Pepe Illo cuts away at the bull")
Νο. 30: Pedro Romero matando a toro parado ("Pedro Romero slaying a standing bull")
Νο. 31: Banderillas de fuego ("Fiery "banderillas")
Νο. 32: Dos grupos de picadores arrollados de seguida por un solo toro ("Two groups of "picadores" pinned down by a single bull")
Νο. 33: La desgraciada muerte de Pepe Illo en la plaza de Madrid ("The disgraceful death of Pepe Illo in Madrid's plaza")
Unpublished printsedit
A: Un caballero en plaza quebrando un rejoncillo con ayuda de un chulo
B: Desgraciada embestida de un poderoso toro
C: Perros al toro
D: Un varilarguero, montado a hombros de un chulo, pica al toro
E: Espanto y confusión en la defensa de un chulo cogido
F: Varilarguero y chulos haciendo el quite a un torero cogido
tauromaquia, bullfighting, series, prints, created, spanish, painter, printmaker, francisco, goya, which, published, 1816, works, series, depict, bullfighting, scenes, there, also, seven, extra, prints, that, were, published, original, edition, Νο, daring, mar. La Tauromaquia Bullfighting is a series of 33 prints created by the Spanish painter and printmaker Francisco Goya which was published in 1816 The works of the series depict bullfighting scenes There are also seven extra prints that were not published in the original edition No 18 The Daring of Martincho in the Ring at Zaragoza etching and aquatint 24 5 35 5 cm In this work from La Tauromaquia a famous bullfighter is depicted sitting on a chair and with feet shackled together while facing the attacking bull Here Goya ignores partly the laws of perspective depicting the viewers in a rather unusual way in order to give more dynamism to the work Self portrait 1790 1795 oil on canvas 42 28 cm In this painting Goya depicts himself in a bullfighter s suitContents 1 Background 2 The works 3 Interpretations 4 Works 4 1 Unpublished prints 5 See also 6 References 7 External linksBackground edit nbsp Spanish entertainment 1825 lithograph 30 41 ek Madrid National Library In this work from The Bulls of Bordeaux series Goya presents bullfighting as a way of popular entertainment and not as a violent event as he does in Tauromaquia Goya created Tauromaquia between 1815 and 1816 at the age of 69 during a break from his famous series The Disasters of War The Disasters of War and the Caprichos the series he had created previously served as visual criticism on subjects concerning war superstition and contemporary Spanish society generally including anticlerical scenes Because of their sensitive subjects few people had seen these works during Goya s lifetime Bullfighting was not politically sensitive and the series was published at the end of 1816 in an edition of 320 for sale individually or in sets without incident It did not meet with critical or commercial success 1 Goya was always charmed by bullfighting a theme that obviously inspired him since it was the subject of many of his works in a self portrait c 1790 1795 he depicted himself in a bullfighter s suit in 1793 he completed a series of eight paintings on tinplate created for the Royal Academy of Fine Arts of San Fernando which depicted scenes from bulls lives from the moment of their birth to the time they enter the bullring in 1825 he made the series Los toros de Burdeos The Bulls of Bordeaux 1825 of which Delacroix purchased a copy 2 Indicative of his love for bulls is the fact that he signed one of his letters as Francisco de los Toros Francisco of the Bulls 3 4 The works editGoya used mainly the techniques of etching and aquatint in this series The artist focuses on the violent scenes that take place in the bullring and the daring movements of the bullfighters The events are not presented as they are viewed by a viewer in the stands but in a more direct way in contrast with The Bulls of Bordeaux where the events are presented as a means of popular entertainment 5 Interpretations editJanis Tomlinson an internationally recognized art historian and Goya scholar recognizes that in plate No 33 t he eventually published title identifies the bull fighter as Pepe Illo A fighter who met end in the ring of Madrid in May 1801 6 The name Pepe is a diminutive for the name Joseph It is interpreted that Pepe represents Joseph Bonaparte the former king of Spain nbsp Goya La desgraciada muerte de Pepe Illo en la plaza de MadridWorks edit nbsp No 1 Modo con que los antiguos Espanoles cazaban los toros a caballo en el campo Way the ancient Spanish hunted the bulls on horse in the field nbsp No 2 Otro modo de cazar a pie Another way of hunting on foot nbsp No 3 Los moros establecidos en Espana prescindiendo de las supersticiones de su Alcoran adoptaron esta caza y arte y lancean un toro en el campo The Moors established in Spain prescinding of the superstitions of their Quran adopted this hunt and art and they spear a bull on the field nbsp No 4 Capean otro encerrado Another one is caped nbsp No 5 El animoso moro Gazul es el primero que lanceo toros en regla The animous Moor Gazul was the first to spear bulls in horseback nbsp No 6 Los Moros hacen otro capeo en plaza con su albornoz The Moors do another caping in the plaza with their bournouses nbsp No 7 Origen de los arpones o banderillas Origin of the harpoons or banderillas nbsp No 8 Cogida de un moro estando en la plaza A Moor getting caught while in the plaza nbsp No 9 Un caballero espanol mata un toro despues de haber perdido el caballo A Spanish knight kills a bull after his horse is wounded nbsp No 10 Carlos V lanceando un toro en la plaza de Valladolid Carlos V spearing a bull in the plaza of Valladolid nbsp No 11 El Cid Campeador lanceando otro toro El Cid spearing another bull nbsp No 12 Desjarrete de la canalla con lanzas medias lunas banderillas y otras armas Slashing of the leg with spears half moons banderillas and other weapons nbsp No 13 Un caballero espanol en plaza quebrando rejoncillos sin auxilio de los chulos A Spanish knight in the plaza breaking his spears without being helped by the chulos nbsp No 14 El diestrisimo estudiante de Falces embozado burla al toro con sus quiebros The dexterous student of Falces embossed tricks the bull with his breaks nbsp No 15 El famoso Martincho poniendo banderillas al quiebro The famous Martincho putting banderillas while breaking nbsp No 16 El mismo vuelca un toro en la plaza de Madrid He turns a bull upside down by himself in Madrid s plaza nbsp No 17 Palenque de los moros hecho con burros para defenderse del toro embolado Palisade of the Moors made with donkeys to defend themselves of the enraged bull nbsp No 18 Temeridad de Martincho en la plaza de Zaragoza Temerity of Martincho in Zaragoza s plaza nbsp No 19 Otra locura suya en la misma plaza More of his madness in the same plaza nbsp No 20 Ligereza y atrevimiento de Juanito Apinani en la de Madrid Lightness and boldness of Juanito Apinani in Madrid s plaza nbsp No 21 Desgracias acaecidas en el tendido de la plaza de Madrid y muerte del alcalde de Torrejon Befallen disgraces in the front seats of the plaza of Madrid and the death of the Mayor of Torrejon nbsp No 22 Valor varonil de la celebre Pajuelera en la de Zaragoza Manly valour of the celebrity Pajuelera in Zaragoza s Plaza nbsp No 23 Mariano Ceballos alias El Indio mata el toro desde su caballo Mariano Ceballos AKA The Indian kills the bull while riding his horse nbsp No 24 El mismo Ceballos montado sobre otro toro quiebra rejones en la plaza de Madrid The same Ceballos riding another bull breaks the rejones in Madrid s Plaza nbsp No 25 Echan perros al toro Dogs are sicced on the bull nbsp No 26 Caida de un picador de su caballo debajo del toro A picador falls from his horse and beneath the bull nbsp No 27 El celebre Fernando del Toro barilarguero obligando a la fiera con su garrocha The celebrity Fernando del Toro varilarguero forcing the beast with his garrocha nbsp No 28 El esforzado Rendon picando un toro de cuya suerte murio en plaza de Madrid The vigorous Rendon stings a bull who luckily died in Madrid s plaza nbsp No 29 Pepe Illo haciendo el recorte al toro Pepe Illo cuts away at the bull nbsp No 30 Pedro Romero matando a toro parado Pedro Romero slaying a standing bull nbsp No 31 Banderillas de fuego Fiery banderillas nbsp No 32 Dos grupos de picadores arrollados de seguida por un solo toro Two groups of picadores pinned down by a single bull nbsp No 33 La desgraciada muerte de Pepe Illo en la plaza de Madrid The disgraceful death of Pepe Illo in Madrid s plaza Unpublished prints edit nbsp A Un caballero en plaza quebrando un rejoncillo con ayuda de un chulo nbsp B Desgraciada embestida de un poderoso toro nbsp C Perros al toro nbsp D Un varilarguero montado a hombros de un chulo pica al toro nbsp E Espanto y confusion en la defensa de un chulo cogido nbsp F Varilarguero y chulos haciendo el quite a un torero cogido nbsp G Funcion de mojigangaSee also editList of works by Francisco GoyaReferences edit Wilson Bareau 61 64 and 67 Edward J Olszewski Exorcising Goya s The Family of Charles IV s 173 Archived 2012 12 24 at the Wayback Machine Goya Rose Marie amp Rainer Hagen p 10 Taschen Francisco Goya Evan S Connell p 20 Goya Rose Marie amp Rainer Hagen s 87 88 Taschen Francisco Goya s Prints in Context retrieved 2021 11 16External links editwww museodelprado es Goya en el Prado Tauromaquia National Gallery of Art Washington permanent dead link Retrieved from https en wikipedia org w index php title La Tauromaquia amp oldid 1182476993, wikipedia, wiki, book, books, library,
