Francisco de Goya Lucientes (1746-1828)
Francisco de Goya Lucientes (1746-1828)

La Tauromaquia

Details
Francisco de Goya Lucientes (1746-1828)
La Tauromaquia
etchings with burnished aquatint, drypoint and engraving, 1816, explanatory title page (with watermark Bartolome Mongelos) and the complete set of 33, from Harris's First Edition, published by the artist, Madrid, very fine, uniform impressions, on fine laid paper, plates 4, 7-9, 11-17, 26 and 33 with watermark Morato, plates 18, 28-30 with watermark Serra, the rest on similar paper but without watermark, with margins, each with a tiny loss at the upper right sheet corner tip, some very soft rippling, pale discolouration at the sheet edges, a few printer's creases, plates 24-29 with a pale waterstain in the upper margin, plate 29 with a short repaired tear at the lower left sheet edge, other small defects, otherwise generally in very good condition, bound in nineteenth century calf-backed marbled paper boards, flat spine with artist's name and title impressed in gilt, blue speckled edges, slighly rubbed, head of spine repaired, otherwise generally in good condition; and a portrait of Goya by another hand(album)
overall S. 315 x 438mm.
Provenance
Paul de Saint-Victor (his ex-libris): Paul de Saint-Victor was a noted turn-of-the-century French playwright and critic.
Literature
Delteil 224-56; Harris 204-36

Lot Essay

In the Tauromaquia, created and assembled between 1814 and 1816, Goya focused his attention on the drama of bullfighting. The series begins with illustrations of the origins and history of bullfighting and ends with the exploits of Goya's contemporaries. In the illustration we see the extraordinary acrobatic feats of Martincho, famous at the time for his daring stunts, one of which involved him vaulting from a table, his feet shackled, over a bull. Goya treats this event with his typically innovative style, relying less on etching and more on beautifully modulated aquatint to created remarkable spatial and formal effects. It is only in early impressions, such as the present lot, that the full effect of this aquatint is apparent. Whilst the subjects vary, however, consistent throughout the entire series is his almost painterly style which is especially evident in his use of shading. As Sanchez and Gallego point out, Goya's Tauromaquia shows "…a masterly ability to portray movement, to capture the tense excitement and muscular vitality of the corrida -and this with an unerring sense of when to play with chiaroscuro effects, in the Baroque manner, to suggest the tragedy and cruelty that accompany the fateful encounter of man and beast." (A. Sanchez and J. Gallego. Goya: The Complete Etchings and Lithographs. New York, 1995,

To a certain extent, through the violent combat of man and beast, Goya transposes his feelings toward the Franco-Spanish War whose atrocities he had condemned so vividly in his Desastres de la guerra a few year before. Yet, Goya, in his 70th year at the time of the Tauromaquia's publication, had been an aficionado since his youth and in the series also manages to recapture his youthful vitality and love of life.

More from Old Master, Modern & Contemporary Prints

View All
View All