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A Picador
Oil on unlined canvas. Ca. 1795
Goya y Lucientes, Francisco de
A Picador
Oil on unlined canvas. Ca. 1795
Goya y Lucientes, Francisco de

An equestrian portrait of a picador, wearing a short bullfighting suit and hat and carrying a long pike. The background is a landscape with a river. X-rays of this work show that this picador is paint [+]

Suerte de Varas (Lancing the Bull)
Oil on canvas. Ca. 1855
Lucas Velázquez, Eugenio
Suerte de Varas (Lancing the Bull)
Oil on canvas. Ca. 1855
Lucas Velázquez, Eugenio

Among the multiple sources of inspiration that Eugenio Lucas found in Goya’ works, bullfighting played a very substantial role in his painting career. As a bullfighting connoisseur and friend of bullf [+]

Bullfight
Oil on canvas. 1867 - 1868
Fortuny, Mariano
Bullfight
Oil on canvas. 1867 - 1868
Fortuny, Mariano

The sketch, almost schematic character of this composition makes this one of the most attractive bullfighting scenes ever painted by Fortuny. It offers a panoramic view of a bullring -probably in Madr [+]

The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on ivory paper. 1814 - 1816
Goya y Lucientes, Francisco de
The celebrated picador, Fernando del Toro, draws the fierce beast on with his pique
Red chalk, Red wash on ivory paper. 1814 - 1816
Goya y Lucientes, Francisco de

Here Goya bears witness to the prominence of the role of picadors in bullfights, showing both the triumphs and the calamities they face due to the risk inherent in their activity. He concentrates the [+]

Two groups of picadors knocked over one after another by the bull
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Two groups of picadors knocked over one after another by the bull
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

El dibujo preparatorio para Tauromaquia, 32, Dos grupos de picadores arrollados de seguida por un solo toro (G02442) pertenece a una serie, dominada siempre por el patetismo trágico, que Goya grabó en [+]

Manly courage of the notorious Pajuelera [in the bullring] at Zaragoza
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Manly courage of the notorious Pajuelera [in the bullring] at Zaragoza
Red chalk on ivory laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

Although the presence of women in Tauromaquia is restricted to the role of spectators, Goya did include the notable exception of Nicolasa Escamilla, nicknamed La Pajuelera because in her youth she was [+]

Bravo toro
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de
Bravo toro
Crayon lithography, Scraper on wove paper. 1825
Goya y Lucientes, Francisco de

Although Goya had already shown an interest in lithography while in Madrid, it was in Bordeaux tht he fully explored the expressive possibilities of this new medium. In November 1825, a year after his [+]

Two groups of picadors knocked over one after another by the bull
Drypoint, Etching, Aquatint, Burnisher, Burin on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de
Two groups of picadors knocked over one after another by the bull
Drypoint, Etching, Aquatint, Burnisher, Burin on white laid paper. 1814 - 1816
Goya y Lucientes, Francisco de

La estampa, Tauromaquia, 32, Dos grupos de picadores arrollados de seguida por un toro, pertenece a la serie grabada por Goya, dominada siempre por el patetismo trágico, entre la primavera de 1814 y e [+]

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