| La novillada | |
|---|---|
| Young Bulls Race | |
 | |
| Artist | Francisco de Goya |
| Year | 1780 [1] |
| Medium | Oil painting, tapestry cartoon |
| Movement | Rococo |
| Dimensions | 136 cm× 259 cm(54 in× 102 in) |
| Location | Museo del Prado, Madrid |
La novillada (English: Young Bulls Race), [2] is an oil painting by Francisco de Goya, painted in 1780, when he was trying his hand at bullfighting. It is part of the fourth series of tapestry cartoons for the Prince of Asturias' antechamber in the Pardo Palace.
Goya was an aficionado, and frequented the world of bullfighting, considered at the time to be "the refuge of scoundrels where ruffians and adventurers are at ease". [3] He describes La Novillada as a cape pass involving several young men, but does not name himself along them, even though he more or less portrayed himself. [4] He subsequently painted several portraits of bullfighters, the best-known of which is that of Pedro Romero. [5]
All the paintings in the fourth series were destined for the antechamber of the Prince of Asturias, the future Charles IV and his wife Marie Louise de Parme, in the Pardo palace. [6] The painting was delivered to the Royal Tapestry Factory on January 24, 1780 [7] and received by its director, Cornelio Vandergoten. A document dated October 2, 1777, whose provenance is unknown, states that the La Novillada tapestry was to hang on the south wall of the princes' antechamber next to another tapestry: El Resguardo de tabacos. [8]
It was considered lost until 1869, when the canvas was discovered in the basement of the Royal Palace in Madrid by Gregorio Cruzada Villaamil, and was returned to the Prado Museum in 1870 by the ordinances of January 19 and February 9, 1870, where it is exhibited in room 91. [7] The painting was first mentioned in the Museo del Prado catalog in 1876. [8]
The series was composed of El Ciego de la guitarra, El Columpio, Las Lavanderas, La Novillada, El Resguardo de tabacos, El Muchacho del pájaro et El Niño del árbol, Los Leñadores, El Majo de la guitarra, La Cita, El Médico, El Balancín and two lost pieces: El Perro [9] and La Fuente. [10]
The painting depicts a festival similar to Francisco Bayeu's Taureaux de Carabanchel. Historian José Camón Aznar sees a connection with Goya's childhood memories (when he tried his hand at bullfighting). [4] It is said that the bright colors drove the weavers at the Royal Factory mad, as they were commissioned to create tapestries based on Goya's sketch. [4]
The ensemble features a group of young people in colorful costumes, and in the main figure, who turns his head towards the viewers, a portrait of the artist himself has been seen. [11] This is also what Claude Pelletier says: "A witness to his time, Goya was probably an amateur bullfighter in his youth. Here, he has portrayed himself in a red costume, as the main character in this humble novillada. [12]
The bright colors are characteristic of Goya's "first period", as is the abundance of Majos who were, depending on the occasion, either commoners or noblemen dressed as such. Édouard Manet described them in one of his best-known paintings, Jeune Homme en costume de majo. The majos and majas were known for their sartorial pursuits inspired by popular customs. [13]
However, Cornelio Vandergoten, the director of the production, gives a different version of Goya's interpretation of the scene. According to him, the figures here are in a sorto position. [6]
The Swing and La Novillada could represent a passage written by Nicolás Fernández de Moratín, Leandro's father, in the clandestine poem Arte de las putas: [14]
"Flee the right-handed one so accursed custom
always give the hurgonazo in passing
to Cándido inciting, the great bullfighter
which, by the prompt, is clean his thrust "
- Nicolás Fernández de Moratín, Arte de las putas (II, 135-138)
"Run away from this good habit so cursed
always give a blow of the saddle in passing
inciting Candide, the great bullfighter
whose stockade is suddenly clean"
However, according to Jeannine Baticle, Goya didn't start frequenting the capital's Lumières until 1779, and it's likely that he only gained access to this poem - written in the early 1770s - through them, and therefore after the production of this carton. [15]
In addition to La Tauromaquia, Goya was greatly inspired by popular bullfighting games. There are several replicas of his Children Playing Bulls, including one in Madrid's Museo Lázaro Galdiano; The Picador, an oil on canvas (56 × 47 cm) in the Prado Museum, is thought to be a study for a larger painting for the Almeda de Osuna entitled Choice of Bulls.
After his illness, which left him deaf, Goya devoted himself almost exclusively to bullfighting during a stay in Andalusia in 1790. The result was a series of twelve small metal paintings entitled Scènes de divertissements nationaux, which he presented as a means of “occupying his mortified imagination”. [16] We usually refer to eight of these small paintings, which form a coherent whole twenty years before the Tauromachie gravée, as the Série Torrecilla, named after the marquis to whom this collection had belonged. [17]
There are countless works on the subject of bullfighting, and they are not always easy to locate. Many are in private collections, such as La Pose des banderilles (1793–1794, oil on tin, 43 × 31 cm).
Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of the late 18th and early 19th centuries. His paintings, drawings, and engravings reflected contemporary historical upheavals and influenced important 19th- and 20th-century painters. Goya is often referred to as the last of the Old Masters and the first of the moderns.
Los Caprichos is a set of 80 prints in aquatint and etching created by the Spanish artist Francisco Goya in 1797–1798 and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's satirizing Spanish society at the end of the 18th century, particularly the nobility and the clergy. Goya in his plates humorously and mercilessly criticized society while aspiring to more just laws and a new educational system. Closely associated with the Enlightenment, the criticisms are far-ranging and acidic. The images expose the predominance of superstition, religious fanaticism, the Inquisition, religious orders, the ignorance and inabilities of the various members of the ruling class, pedagogical shortcomings, marital mistakes, and the decline of rationality.
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Blind Man's Bluff is one of the Rococo oil-on-linen cartoons produced by the Spanish artist Francisco de Goya for tapestries for the Royal Palace of El Pardo. The painting and the previous skectch are held in the Museo del Prado, in Madrid.
The Royal Tapestry Factory is a factory making tapestries in Madrid, Spain, which was founded in 1720 and is still in operation.
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.
The Museo Goya - Colección Ibercaja - Museo Camón Aznar is a fine arts museum in Zaragoza, Spain. It opened in 1979 under the name Museo Camón Aznar, after the art collector from the city who had contributed the nucleus of its collection. It houses also a collection of paintings and engravings by Francisco Goya.
Children in a Chariot is a 1779 painting by Francisco de Goya. It is part of the third series of cartoons he produced for tapestries at the Royal Palace of El Pardo; the tapestry in question was to be positioned over a door. The painting is in the Toledo Museum of Art, in Toledo, Ohio.
Landscape with Skater is an oil on canvas painting by Flemish artist Joos de Momper. The painting is today considered a collaboration between the latter and Jan Brueghel the Elder. It was painted between 1615 and 1625. The painting is kept in the Museum of Prado in Madrid.
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The Victorious Hannibal Seeing Italy from the Alps for the First Time, or Hannibal the victor crossing the Alps, or Hannibal the victorious from the heights of the Alps looks out over the plains of Italy is an oil painting by Spanish painter Francisco Goya, dating from his early years. It is the oldest documented work by the painter.
Self-Portrait at 69 Years is an oil painting by the Spanish painter Francisco Goya. Two original versions of this work have been preserved. One of the paintings, painted on canvas, is housed in the collections of the Prado Museum. The other, created on wood panel, is located in the Real Academia de Bellas Artes de San Fernando in Madrid. Both paintings were created in 1815, in the post-war period, and depict a very similar image of the artist. This is one of the most sincere and direct self-portraits of the painter.
A Village Bullfight or A Village Corrida is an oil painting by the Spanish painter Francisco Goya.
The tapestry cartoons of Francisco de Goya are a group of oil on canvas paintings by Francisco de Goya between 1775 and 1792 as designs for the Royal Tapestry Factory of Santa Barbara near Madrid in Spain. Although they are not the only tapestry cartoons made at the Royal Factory, they are much the best known. Most of them represent bucolic, hunting, rural and popular themes. They strictly adhered to the tastes of King Charles III and the princes Charles of Bourbon and Maria Luisa of Parma, and were supervised by other artists of the factory such as Maella and the Bayeu family. Most are now in the Museo del Prado, having remained in the Spanish Royal collection, although there are some in art galleries in other countries.
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Marta Martina García was a 19th-century Spanish bullfighter known as "Lagartijo mujeril" or "La Martina". She dominated all types of bullfighting, and stood out for being one of the few women bullfighters in her time who fought bulls alongside men. Antonio García-Ramos y Vázquez in Veinte temas taurinos writes that Francisco Arjona Herrera, known as "Cúchares", stands out among them.
The Witches' Kitchen is a painting by the Spanish artist Francisco Goya, located in a private collection in Mexico. It is part of a series of six cabinet paintings, each measuring approximately 43 × 30 cm, with the theme of witchcraft. The paintings do not together form a single narrative and do not share a common meaning, so it is appropriate to interpret each one individually. The entire series was owned by the Dukes of Osuna and adorned their summer residence, Alameda de Osuna. In addition to The Witches' Kitchen, the series includes: Witches' Sabbath, Witches' Flight, The Incantation, The Bewitched Man, and Don Juan and the Commendatore. Four of the paintings are in various public collections, one in a private collection, and the last is considered lost.
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The Incantation is a painting by the Spanish artist Francisco Goya. It belongs to a series of six cabinet paintings, each approximately 43 × 30 cm, with witchcraft as the central theme. The paintings do not form a single narrative and have no shared meaning, so each one is interpreted individually. The entire series was owned by the Dukes of Osuna and adorned their summer residence in Alameda de Osuna. In addition to The Incantation, the series includes Witches' Sabbath, Witches' Flight, Don Juan and the Commendatore, The Bewitched Man, and The Witches' Kitchen. Four of the paintings are held in various public collections, one in a private collection, and the last is considered lost.
