Picasso once confided to André Malraux that "for us Spaniards it is Mass in the morning, the bullfight in the afternoon and the brothel in the evening". The importance of the Corrida is difficult to underestimate in the life of Spaniards. From an early age Picasso had been accustomed to visiting the bull ring with his father and his first painting, his first engraving and his first sculpture were all bull fighting compositions. It was a subject that was to remain with him all his life through the image of the minotaur and beyond, into the poetic violence of Guernica.

In the winter of 1899 Picasso arrived in Barcelona and soon became involved in the life and atmosphere of the city leading him swiftly to church, the brothel and the bull ring.

The present pastel was probably executed in the Summer of 1900 in the season that the new bull ring Plaza de los Arenas was inaugurated. The new bull ring was both larger and grander than the ancient Barceloneta which it replaced and a great wave of enthusiasm greeted the new ring amongst the passionately enthusiastic Catalans.

As a frequent visitor to the bull ring Picasso was always stimulated by its passion and colour. In 1900 he executed a series of drawings and nine pastels on the theme of the corrida. When in the stadium, Picasso was little interested in the spectators in the stands but concentrated all his energies on the drama of the ring and the struggle between bull and matador. All the pastels of this period are remarkable for their strong catalan sunlight and Picasso made full use of strong colours in trying to represent it.

Picasso brought this series of pastels with him on his first visit to Paris. Berthe Weill acquired three from him for the sum of three hundred francs which she resold immediately to Adolphe Brisson the director of Les Annales. Pierre Daix has suggested that Picasso had already anticipated this success and deliberately prepared these pastels for the Paris market.

Maya Widmaier-Picasso has kindly confirmed the authenticity of this work