RARE Etching Aquatint Print - Tauromaquia Bull Fight - Francisco GOYA Plate 2

£550.30 Buy It Now or Best Offer, £15.72 Shipping, eBay Money Back Guarantee
Seller: dalebooks ✉️ (8,797) 100%, Location: Rochester, New York, US, Ships to: WORLDWIDE & many other countries, Item: 266650853164 RARE Etching Aquatint Print - Tauromaquia Bull Fight - Francisco GOYA Plate 2 .
RARE  Original Etching / Aquatint  
 
Francisco Goya
"Otro modo de cazar a pie" - Plate no. 2 
from the series : La Tauromaquia - Bullfighting

For offer - a very nice old etching! Fresh from an estate. Never offered on the market until now. Vintage, Old, antique, Original - NOT a Reproduction - Guaranteed !! Beautiful print of one of the greatest etchers / artists of his time. Title translates to "another way of hunting on foot." Full page measures 8 3/4 x 7 inches. Plate impression area measures 4 3/4 x 6 1/4 inches. Laide paper. Embossed face at lower right. Handwriting on back. Originally printed in 1816, I believe this to be a later strike - still old, from original plate. In very good to excellent condition. A fine print. Old mounting marks at top edge. Please see photos. If you collect 20th American century art history, sports, fine original art, etc., this is a nice one for your paper or ephemera collection. Combine shipping on multiple bid wins! 2650

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. Background 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 1790-95) 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 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] Interpretations 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. Francisco José de Goya y Lucientes (/ˈɡɔɪə/; Spanish: [fɾanˈθisko xoˈse ðe ˈɣoʝa i luˈθjentes]; 30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of the late 18th and early 19th centuries.[1] His paintings, drawings, and engravings reflected contemporary historical upheavals and influenced important 19th- and 20th-century painters.[2] Goya is often referred to as the last of the Old Masters and the first of the moderns.[3] Goya was born to a middle-class family in 1746, in Fuendetodos in Aragon. He studied painting from age 14 under José Luzán y Martinez and moved to Madrid to study with Anton Raphael Mengs. He married Josefa Bayeu in 1773. Their life was characterised by a series of pregnancies and miscarriages, and only one child, a son, survived into adulthood. Goya became a court painter to the Spanish Crown in 1786 and this early portion of his career is marked by portraits of the Spanish aristocracy and royalty, and Rococo-style tapestry cartoons designed for the royal palace. He was guarded, and although letters and writings survive, little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him deaf, after which his work became progressively darker and pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, and contrast with his social climbing. He was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799, Goya became Primer Pintor de Cámara (Prime Court Painter), the highest rank for a Spanish court painter. In the late 1790s, commissioned by Godoy, he completed his La maja desnuda, a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1800–01 he painted Charles IV of Spain and His Family, also influenced by Velázquez. In 1807, Napoleon led the French army into the Peninsular War against Spain. Goya remained in Madrid during the war, which seems to have affected him deeply. Although he did not speak his thoughts in public, they can be inferred from his Disasters of War series of prints (although published 35 years after his death) and his 1814 paintings The Second of May 1808 and The Third of May 1808. Other works from his mid-period include the Caprichos and Los Disparates etching series, and a wide variety of paintings concerned with insanity, mental asylums, witches, fantastical creatures and religious and political corruption, all of which suggest that he feared for both his country's fate and his own mental and physical health. His late period culminates with the Black Paintings of 1819–1823, applied on oil on the plaster walls of his house the Quinta del Sordo (House of the Deaf Man) where, disillusioned by political and social developments in Spain, he lived in near isolation. Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, who may or may not have been his lover. There he completed his La Tauromaquia series and a number of other, major, canvases. Following a stroke which left him paralyzed on his right side, and suffering failing eyesight and poor access to painting materials, he died and was buried on 16 April 1828 aged 82. His body was later re-interred in the Real Ermita de San Antonio de la Florida in Madrid. Famously, the skull was missing, a detail the Spanish consul immediately communicated to his superiors in Madrid, who wired back, "Send Goya, with or without head."[4] Early years (1746–1771) Birth house of Francisco Goya, Fuendetodos, Zaragoza Francisco Goya was born in Fuendetodos, Aragón, Spain, on 30 March 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. The family had moved that year from the city of Zaragoza, but there is no record why; likely José was commissioned to work there.[5] They were lower middle-class. José was the son of a notary and of Basque origin, his ancestors being from Zerain,[6] earning his living as a gilder, specialising in religious and decorative craftwork.[7] He oversaw the gilding and most of the ornamentation during the rebuilding of the Basilica of Our Lady of the Pillar (Santa Maria del Pilar), the principal cathedral of Zaragoza. Francisco was their fourth child, following his sister Rita (b. 1737), brother Tomás (b. 1739) (who was to follow in his father's trade) and second sister Jacinta (b. 1743). There were two younger sons, Mariano (b. 1750) and Camilo (b. 1753).[8] His mother's family had pretensions of nobility and the house, a modest brick cottage, was owned by her family and, perhaps fancifully, bore their crest.[7] About 1749 José and Gracia bought a home in Zaragoza and were able to return to live in the city. Although there are no surviving records, it is thought that Goya may have attended the Escuelas Pías de San Antón, which offered free schooling. His education seems to have been adequate but not enlightening; he had reading, writing and numeracy, and some knowledge of the classics. According to Robert Hughes the artist "seems to have taken no more interest than a carpenter in philosophical or theological matters, and his views on painting ... were very down to earth: Goya was no theoretician."[9] At school he formed a close and lifelong friendship with fellow pupil Martín Zapater; the 131 letters Goya wrote to him from 1775 until Zapater's death in 1803 give valuable insight into Goya's early years at the court in Madrid.[5][10] Visit to Italy At age 14 Goya studied under the painter José Luzán, where he copied stamps[which?] for 4 years until he decided to work on his own, as he wrote later on "paint from my invention".[11] He moved to Madrid to study with Anton Raphael Mengs, a popular painter with Spanish royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the Real Academia de Bellas Artes de San Fernando in 1763 and 1766 but was denied entrance into the academia.[12] Sacrifice to Pan, 1771. Colección José Gudiol, Barcelona Rome was then the cultural capital of Europe and held all the prototypes of classical antiquity, while Spain lacked a coherent artistic direction, with all of its significant visual achievements in the past. Having failed to earn a scholarship, Goya relocated at his own expense to Rome in the old tradition of European artists stretching back at least to Albrecht Dürer.[13] He was an unknown at the time and so the records are scant and uncertain. Early biographers have him travelling to Rome with a gang of bullfighters, where he worked as a street acrobat, or for a Russian diplomat, or fell in love with a beautiful young nun whom he plotted to abduct from her convent.[14] It is possible that Goya completed two surviving mythological paintings during the visit, a Sacrifice to Vesta and a Sacrifice to Pan, both dated 1771.[15] Portrait of Josefa Bayeu (1747–1812) In 1771 he won second prize in a painting competition organized by the City of Parma. That year he returned to Zaragoza and painted elements of the cupolas of the Basilica of the Pillar (including Adoration of the Name of God), a cycle of frescoes for the monastic church of the Charterhouse of Aula Dei, and the frescoes of the Sobradiel Palace. He studied with the Aragonese artist Francisco Bayeu y Subías and his painting began to show signs of the delicate tonalities for which he became famous. He befriended Francisco Bayeu and married his sister Josefa (he nicknamed her "Pepa")[16] on 25 July 1773. Their first child, Antonio Juan Ramon Carlos, was born on 29 August 1774.[17] Madrid (1775–1789) The Parasol, 1777 The marriage and Francisco Bayeu's 1765 membership of the Real Academia de Bellas Artes de San Fernando and directorship of the tapestry works from 1777 helped Goya earn a commission for a series of tapestry cartoons for the Royal Tapestry Factory. Over five years he designed some 42 patterns, many of which were used to decorate and insulate the stone walls of El Escorial and the Palacio Real del Pardo, the residences of the Spanish monarchs. While designing tapestries was neither prestigious nor well paid, his cartoons are mostly popularist in a rococo style, and Goya used them to bring himself to wider attention.[18] The cartoons were not his only royal commissions, and were accompanied by a series of engravings, mostly copies after old masters such as Marcantonio Raimondi and Velázquez. Goya had a complicated relationship to the latter artist; while many of his contemporaries saw folly in Goya's attempts to copy and emulate him, he had access to a wide range of the long-dead painter's works that had been contained in the royal collection.[19] Nonetheless, etching was a medium that the young artist was to master, a medium that was to reveal both the true depths of his imagination and his political beliefs.[20] His c. 1779 etching of The Garrotted Man ("El agarrotado") was the largest work he had produced to date, and an obvious foreboding of his later "Disasters of War" series.[21] The Garroted Man, before 1780. National Gallery of Art, Washington, D.C. Goya was beset by illness, and his condition was used against him by his rivals, who looked jealously upon any artist seen to be rising in stature. Some of the larger cartoons, such as The Wedding, were more than 8 by 10 feet, and had proved a drain on his physical strength. Ever resourceful, Goya turned this misfortune around, claiming that his illness had allowed him the insight to produce works that were more personal and informal.[22] However, he found the format limiting, as it did not allow him to capture complex color shifts or texture, and was unsuited to the impasto and glazing techniques he was by then applying to his painted works. The tapestries seem as comments on human types, fashion and fads.[23] Other works from the period include a canvas for the altar of the Church of San Francisco El Grande in Madrid, which led to his appointment as a member of the Royal Academy of Fine Art. Court painter Charles IV of Spain and His Family, 1800–01[A] In 1783, the Count of Floridablanca, favorite of King Charles III, commissioned Goya to paint his portrait. He became friends with the King's half-brother Luis, and spent two summers working on portraits of both the Infante and his family.[25] During the 1780s, his circle of patrons grew to include the Duke and Duchess of Osuna, the King and other notable people of the kingdom whom he painted. In 1786, Goya was given a salaried position as painter to Charles III. The Family of the Infante Don Luis, 1784. Magnani-Rocca, Parma Goya was appointed court painter to Charles IV in 1789. The following year he became First Court Painter, with a salary of 50,000 reales and an allowance of 500 ducats for a coach. He painted portraits of the king and the queen, and the Spanish Prime Minister Manuel de Godoy and many other nobles. These portraits are notable for their disinclination to flatter; his Charles IV of Spain and His Family is an especially brutal assessment of a royal family.[B] Modern interpreters view the portrait as satirical; it is thought to reveal the corruption behind the rule of Charles IV. Under his reign his wife Louisa was thought to have had the real power, and thus Goya placed her at the center of the group portrait. From the back left of the painting one can see the artist himself looking out at the viewer, and the painting behind the family depicts Lot and his daughters, thus once again echoing the underlying message of corruption and decay. Portrait of Manuel Godoy, 1801. Real Academia de Bellas Artes de San Fernando Goya earned commissions from the highest ranks of the Spanish nobility, including Pedro Téllez-Girón, 9th Duke of Osuna and his wife María Josefa Pimentel, 12th Countess-Duchess of Benavente, José Álvarez de Toledo, Duke of Alba and his wife María del Pilar de Silva, and María Ana de Pontejos y Sandoval, Marchioness of Pontejos. In 1801 he painted Godoy in a commission to commemorate the victory in the brief War of the Oranges against Portugal. The two were friends, even if Goya's 1801 portrait is usually seen as satire. Yet even after Godoy's fall from grace the politician referred to the artist in warm terms. Godoy saw himself as instrumental in the publication of the Caprichos and is widely believed to have commissioned La maja desnuda.[26] Middle period (1793–1799) La maja desnuda, 1790–1800 La maja desnuda, 1790–1800 La maja vestida, 1800–1805 La Maja Desnuda (La maja desnuda) has been described as "the first totally profane life-size female nude in Western art" without pretense to allegorical or mythological meaning.[27] The identity of the Majas is uncertain. The most popularly cited models are the Duchess of Alba, with whom Goya was sometimes thought to have had an affair, and Pepita Tudó, mistress of Manuel de Godoy. Neither theory has been verified, and it remains as likely that the paintings represent an idealized composite.[28] The paintings were never publicly exhibited during Goya's lifetime and were owned by Godoy.[29] In 1808 all Godoy's property was seized by Ferdinand VII after his fall from power and exile, and in 1813 the Inquisition confiscated both works as 'obscene', returning them in 1836 to the Academy of Fine Arts of San Fernando.[30] In 1798 he painted luminous and airy scenes for the pendentives and cupola of the Real Ermita (Chapel) of San Antonio de la Florida in Madrid. Many of these depict miracles of Saint Anthony of Padua set in the midst of contemporary Madrid. The Sleep of Reason Produces Monsters, c. 1797, 21.5 cm × 15 cm (8+1⁄2 in × 5+7⁄8 in) At some time between late 1792 and early 1793 an undiagnosed illness left Goya deaf. He became withdrawn and introspective while the direction and tone of his work changed. He began the series of aquatinted etchings, published in 1799 as the Caprichos—completed in parallel with the more official commissions of portraits and religious paintings. In 1799 Goya published 80 Caprichos prints depicting what he described as "the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual".[31] The visions in these prints are partly explained by the caption "The sleep of reason produces monsters". Yet these are not solely bleak; they demonstrate the artist's sharp satirical wit, particularly evident in etchings such as Hunting for Teeth. Goya's physical and mental breakdown seems to have happened a few weeks after the French declaration of war on Spain. A contemporary reported, "The noises in his head and deafness aren’t improving, yet his vision is much better and he is back in control of his balance."[32] These symptoms may indicate a prolonged viral encephalitis, or possibly a series of miniature strokes resulting from high blood pressure and which affected the hearing and balance centers of the brain. Symptoms of tinnitus, episodes of imbalance and progressive deafness are typical of Ménière's disease.[33] It is possible that Goya suffered from cumulative lead poisoning, as he used massive amounts of lead white—which he ground himself[34]—in his paintings, both as a canvas primer and as a primary color.[35][36] Other postmortem diagnostic assessments point toward paranoid dementia, possibly due to brain trauma, as evidenced by marked changes in his work after his recovery, culminating in the "black" paintings.[37] Art historians have noted Goya's singular ability to express his personal demons as horrific and fantastic imagery that speaks universally, and allows his audience to find its own catharsis in the images.[38] Peninsular War (1808–1814) The French army invaded Spain in 1808, leading to the Peninsular War of 1808–1814. The extent of Goya's involvement with the court of the "Intruder king", Joseph I, the brother of Napoleon Bonaparte, is not known; he painted works for French patrons and sympathisers, but kept neutral during the fighting. After the restoration of the Spanish king Ferdinand VII in 1814, Goya denied any involvement with the French. By the time of his wife Josefa's death in 1812, he was painting The Second of May 1808 and The Third of May 1808, and preparing the series of etchings later known as The Disasters of War (Los desastres de la guerra). Ferdinand VII returned to Spain in 1814 but relations with Goya were not cordial. The artist completed portraits of the king for a variety of ministries, but not for the king himself. While convalescing between 1793 and 1794, Goya completed a set of eleven small pictures painted on tin that mark a significant change in the tone and subject matter of his art, and draw from the dark and dramatic realms of fantasy nightmare. Yard with Lunatics is an imaginary vision of loneliness, fear and social alienation. The condemnation of brutality towards prisoners (whether criminal or insane) is a subject that Goya assayed in later works[39] that focused on the degradation of the human figure.[40] It was one of the first of Goya's mid-1790s cabinet paintings, in which his earlier search for ideal beauty gave way to an examination of the relationship between naturalism and fantasy that would preoccupy him for the rest of his career.[41] He was undergoing a nervous breakdown and entering prolonged physical illness,[42] and admitted that the series was created to reflect his own self-doubt, anxiety and fear that he was losing his mind.[43] Goya wrote that the works served "to occupy my imagination, tormented as it is by contemplation of my sufferings." The series, he said, consisted of pictures which "normally find no place in commissioned works." Although Goya did not make his intention known when creating The Disasters of War, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War and the move against liberalism in the aftermath of the restoration of the Bourbon monarchy in 1814. The scenes are singularly disturbing, sometimes macabre in their depiction of battlefield horror, and represent an outraged conscience in the face of death and destruction.[44] They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons.[45] The first 47 plates in the series focus on incidents from the war and show the consequences of the conflict on individual soldiers and civilians. The middle series (plates 48 to 64) record the effects of the famine that hit Madrid in 1811–12, before the city was liberated from the French. The final 17 reflect the bitter disappointment of liberals when the restored Bourbon monarchy, encouraged by the Catholic hierarchy, rejected the Spanish Constitution of 1812 and opposed both state and religious reform. Since their first publication, Goya's scenes of atrocities, starvation, degradation and humiliation have been described as the "prodigious flowering of rage".[46] The Third of May 1808, 1814. Oil on canvas, 266 cm × 345 cm (105 in × 136 in). Museo del Prado, Madrid   The Second of May 1808, 1814   Plate 4: Las mujeres dan valor (The women are courageous). This plate depicts a struggle between a group of civilians fighting soldiers.   Plate 5: Y son fieras (And they are fierce or And they fight like wild beasts). Civilians, including women, fight against soldiers with spears and rocks.   Soldiers in large fur hats, long coats and winter uniforms murder priests by running them through with their long bladed swords. Plate 46: Esto es malo (This is bad). A monk is killed by French soldiers looting church treasures. A rare sympathetic image of clergy generally shown on the side of oppression and injustice.[47]   Plate 47: Así sucedió (This is how it happened). The last print in the first group. Murdered monks lie by French soldiers looting church treasures. His works from 1814 to 1819 are mostly commissioned portraits, but also include the altarpiece of Santa Justa and Santa Rufina for the Cathedral of Seville, the print series of La Tauromaquia depicting scenes from bullfighting, and probably the etchings of Los Disparates. Quinta del Sordo and Black Paintings (1819–1822) Saturn Devouring His Son, 1819–1823. Records of Goya's later life are relatively scant, and ever politically aware, he suppressed a number of his works from this period, working instead in private.[48] Goya was tormented by a dread of old age and fear of madness, the latter possibly from anxiety caused by an undiagnosed illness that left him deaf from the early 1790s.[49] Goya had been a successful and royally placed artist, but withdrew from public life during his final years. From the late 1810s he lived in near-solitude outside Madrid in a farmhouse converted into a studio. The house had become known as "La Quinta del Sordo" (The House of the Deaf Man), after the nearest farmhouse that had coincidentally also belonged to a deaf man.[50] Art historians assume Goya felt alienated from the social and political trends that followed the 1814 restoration of the Bourbon monarchy, and that he viewed these developments as reactionary means of social control. In his unpublished art he seems to have railed against what he saw as a tactical retreat into Medievalism.[51] It is thought that he had hoped for political and religious reform, but like many liberals became disillusioned when the restored Bourbon monarchy and Catholic hierarchy rejected the Spanish Constitution of 1812.[52] At the age of 75, alone and in mental and physical despair, he completed the work of his 14 Black Paintings,[C] all of which were executed in oil directly onto the plaster walls of his house. Goya did not intend for the paintings to be exhibited, did not write of them,[D] and likely never spoke of them.[53] Around 1874, 50 years after his death, they were taken down and transferred to a canvas support by owner Baron Frédéric Émile d'Erlanger. Many of the works were significantly altered during the restoration, and in the words of Arthur Lubow what remain are "at best a crude facsimile of what Goya painted."[54] The effects of time on the murals, coupled with the inevitable damage caused by the delicate operation of mounting the crumbling plaster on canvas, meant that most of the murals suffered extensive damage and loss of paint. Today they are on permanent display at the Museo del Prado, Madrid. In an array of earthen colors, a black silhouetted horned figure to the left foreground presides over and addresses a large circle of a tightly packed group of wide-eyed intense, scary, elderly and unruly women Witches' Sabbath or Aquelarre is one of 14 from the Black Paintings series. Bordeaux (October 1824 – 1828) The Milkmaid of Bordeaux, 1825–27, is the third and final Goya portrait which may depict Leocadia Weiss.[55] Leocadia Weiss (née Zorrilla, 1790–1856),[56][57] the artist's maid, younger by 35 years, and a distant relative,[58] lived with and cared for Goya after Bayeu's death. She stayed with him in his Quinta del Sordo villa until 1824 with her daughter Rosario.[59] Leocadia was probably similar in features to Goya's first wife Josefa Bayeu, to the point that one of his well-known portraits bears the cautious title of Josefa Bayeu (or Leocadia Weiss).[60] Not much is known about her beyond her fiery temperament. She was likely related to the Goicoechea family, a wealthy dynasty into which the artist's son, Javier, had married. It is known that Leocadia had an unhappy marriage with a jeweler, Isidore Weiss, but was separated from him since 1811, after he had accused her of "illicit conduct". She had two children before that time, and bore a third, Rosario, in 1814 when she was 26. Isidore was not the father, and it has often been speculated—although with little firm evidence—that the child belonged to Goya.[61] There has been much speculation that Goya and Weiss were romantically linked; however, it is more likely the affection between them was sentimental.[62] Goya died on 16 April 1828.[63] Leocadia was left nothing in Goya's will; mistresses were often omitted in such circumstances, but it is also likely that he did not want to dwell on his mortality by thinking about or revising his will. She wrote to a number of Goya's friends to complain of her exclusion but many of her friends were Goya's also and by then were old men or had died, and did not reply. Largely destitute, she moved into rented accommodation, later passing on her copy of the Caprichos for free.[64] Films and television Goya: Crazy Like a Genius (2002), a documentary by Ian MacMillan, presented by Robert Hughes Goya's Ghosts (2006), directed by Miloš Forman Volavérunt (1999), directed by Bigas Luna and based on the novel by Antonio Larreta Goya in Bordeaux (1999), Spanish historical drama film written and directed by Carlos Saura about the life of Francisco de Goya Goya or the Hard Way to Enlightenment (1971) (German: Goya – oder der arge Weg der Erkenntnis) is a 1971 East German drama film directed by Konrad Wolf. It was entered into the 7th Moscow International Film Festival where it won a Special Prize. It is based on a novel with the same title by Lion Feuchtwanger. The Naked Maja (1958), directed by Henry Koster. A film about the painter Francisco Goya and the Duchess of Alba; Anthony Franciosa played Goya and Ava Gardner played The Duchess. Tiempo de ilustrados (Time of the Enlightened) in the series The Ministry of Time. Goya (played by Pedro Casablanc) must repaint La maja desnuda after a cult called the Exterminating Angels destroy it. Goya's influence on modern and contemporary artists and writers In the early 20th century, Spanish masters Pablo Picasso and Salvador Dalí drew influence from Los caprichos and the Black Paintings of Goya.[65] In the 21st century, American postmodern painters such as Michael Zansky and Bradley Rubenstein draw inspiration from "The Dream of Reason Produces Monsters" (1796–98) and Goya's Black Paintings. Zanksy's "Giants and Dwarf Series" (1990–2002) of large-scale paintings and wood carvings use imagery from Goya.[66][67] Spanish author Fernando Arrabal's novel The Burial of the Sardine was inspired by Goya's painting.[68] Russian poet Andrei Voznesensky's I Am Goya was inspired by Goya's anti-war paintings.[69] Bullfighting is a physical contest that involves a bullfighter and animals attempting to subdue, immobilize, or kill a bull, usually according to a set of rules, guidelines, or cultural expectations. There are several variations, including some forms which involve dancing around or leaping over a cow or bull or attempting to grasp an object tied to the animal's horns. The most well-known form of bullfighting is Spanish-style bullfighting, practiced in Spain, Portugal, Southern France, Mexico, Colombia, Ecuador, Venezuela, and Peru. The Spanish Fighting Bull is bred for its aggression and physique, and is raised free-range with little human contact. The practice of bullfighting is controversial because of a range of concerns including animal welfare, funding, and religion. While some forms are considered a blood sport, in some countries, for example Spain, it is defined as an art form or cultural event,[1] and local regulations define it as a cultural event or heritage.[2][3] Bullfighting is illegal in most countries, but remains legal in most areas of Spain and Portugal, as well as in some Hispanic American countries and some parts of southern France.[4] Bullfighting traces its roots to prehistoric bull worship and sacrifice in Mesopotamia and the Mediterranean region. The first recorded bullfight may be the Epic of Gilgamesh, which describes a scene in which Gilgamesh and Enkidu fought and killed the Bull of Heaven ("The Bull seemed indestructible, for hours they fought, till Gilgamesh dancing in front of the Bull, lured it with his tunic and bright weapons, and Enkidu thrust his sword, deep into the Bull's neck, and killed it").[5] Bull-leaping was portrayed in Crete and myths related to bulls throughout Greece.[citation needed] Bullfighting and the killing of the sacred bull was commonly practised among Männerbund in ancient Iran and connected to the pre-Zoroastrian god Mithra.[6] The cosmic connotations of the ancient Iranian practice are reflected in Zoroaster's Gathas and the Avesta. The killing of the sacred bull (tauroctony) is the essential central iconic act of Mithras, which was commemorated in the mithraeum wherever Roman soldiers were stationed. The oldest representation of what seems to be a man facing a bull is on the Celtiberian tombstone from Clunia and the cave painting El toro de hachos, both found in Spain.[7][8] Bullfighting is often linked to Rome, where many human-versus-animal events were held as competition and entertainment, the Venationes. These hunting games spread to Africa, Asia, and Europe during Roman times. There are also theories that it was introduced into Hispania by the Emperor Claudius, as a substitute for gladiators, when he instituted a short-lived ban on gladiatorial combat. The latter theory was supported by Robert Graves (picadors are related to warriors who wielded the javelin, but their role in the contest is now a minor one limited to "preparing" the bull for the matador.) Spanish colonists took the practice of breeding cattle and bullfighting to the American colonies, the Pacific, and Asia. In the 19th century, areas of southern and southwestern France adopted bullfighting, developing their distinctive form.[citation needed] Mithras killing a bull Religious festivities and royal weddings were celebrated by fights in the local plaza, where noblemen would ride competing for royal favor, and the populace enjoyed the excitement. In the Middle Ages across Europe, knights would joust in competitions on horseback. In Spain, they began to fight bulls.[citation needed] In medieval Spain bullfighting was considered a noble sport and reserved for the rich, who could afford to supply and train their animals. The bull was released into a closed arena where a single fighter on horseback was armed with a lance. This spectacle was said to be enjoyed by Charlemagne, Alfonso X the Wise and the Almohad caliphs, among others. The greatest Spanish performer of this art is said to have been the knight El Cid. According to a chronicle of the time, in 1128 "... when Alfonso VII of León and Castile married Berengaria of Barcelona daughter of Ramon Berenguer III, Count of Barcelona at Saldaña among other celebrations, there were also bullfights."[9] In the time of Emperor Charles V, Pedro Ponce de Leon was the most famous bullfighter in Spain and a renovator of the technique of killing the bull on a horse with blindfolded eyes.[10] Juan de Quirós, the best Sevillian poet of that time, dedicated to him a poem in Latin, of which Benito Arias Montano transmits some verses.[11] Francisco Romero, from Ronda, Spain, is generally regarded as having been the first to introduce the practice of fighting bulls on foot around 1726, using the muleta in the last stage of the fight and an estoc to kill the bull. This type of fighting drew more attention from the crowds. Thus the modern corrida, or fight, began to take form, as riding noblemen were replaced by commoners on foot. This new style prompted the construction of dedicated bullrings, initially square, like the Plaza de Armas, and later round, to discourage the cornering of the action.[citation needed] The modern style of Spanish bullfighting is credited to Juan Belmonte, generally considered the greatest matador of all time. Belmonte introduced a daring and revolutionary style, in which he stayed within a few centimeters of the bull throughout the fight. Although extremely dangerous (Belmonte was gored on many occasions), his style is still seen by most matadors as the ideal to be emulated.[citation needed] Styles This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2020) (Learn how and when to remove this template message) A bull fight in Barcelona, Spain, ca.1900 Monument to a bull, Plaza de Toros de Ronda (Ronda bullring), Spain Plaza México, with capacity of 48,000 seats, is the major bullring in the world by seating capacity. Originally, at least five distinct regional styles of bullfighting were practised in southwestern Europe: Andalusia, Aragon–Navarre, Alentejo, Camargue, Aquitaine.[citation needed] Over time, these have evolved more or less into standardized national forms mentioned below.[citation needed] The "classic" style of bullfighting, in which the rule is kill the bull is the style practiced in Spain and many Latin American countries. Bullfighting stadia are named "bullrings". There are many historic bullrings; the oldest are the 1700s Spanish plazas of Sevilla and Ronda. The largest bullring is the Plaza México in Mexican capital which seats 48,000 people.[12] Spanish Main article: Spanish-style bullfighting Spanish-style bullfighting is called corrida de toros (literally "coursing of bulls") or la fiesta ("the festival"). In the traditional corrida, three matadores each fight two bulls, each of which is between four and six years old and weighs no less than 460 kg (1,014 lb).[13] Each matador has six assistants: two picadores (lancers on horseback) mounted on horseback, three banderilleros – who along with the matadors are collectively known as toreros (bullfighters) – and a mozo de espadas (sword page). Collectively they comprise a cuadrilla (entourage). In Spanish the more general torero or diestro (literally 'right-hander') is used for the lead fighter, and only when needed to distinguish a man is the full title matador de toros used; in English, "matador" is generally used for the bullfighter. Death of the Picador – Francisco de Goya, c. 1793 File:Juan Bautista corrida goyesque Feria du Riz Arles 2010.ogv Start of tercio de muerte: polished verónica and larga serpentina during a goyesca corrida. File:José Arévalo en 2009 à Beaucaire.ogv Welcoming of a toro" a porta gayola and series of verónica, terminated by a semi-verónica. Structure The modern corrida is highly ritualized, with three distinct stages or tercios ("thirds"); the start of each being announced by a bugle sound. The participants enter the arena in a parade, called the paseíllo, to salute the presiding dignitary, accompanied by band music. Torero costumes are inspired by 17th-century Andalusian clothing, and matadores are easily distinguished by the gold of their traje de luces ("suit of lights"), as opposed to the lesser banderilleros, who are also known as toreros de plata ("bullfighters of silver").[citation needed] Tercio de Varas The bull is released into the ring, where he is tested for ferocity by the matador and banderilleros with the magenta and gold capote ("cape"). This is the first stage, the tercio de varas ("the lancing third"). The matador confronts the bull with the capote, performing a series of passes and observing the behavior and quirks of the bull. Next, a picador enters the arena on horseback armed with a vara (lance). To protect the horse from the bull's horns, the animal wears a protective, padded covering called peto. Prior to 1930, the horses did not wear any protection. Often the bull would disembowel the horse during this stage. Until the use of protection was instituted, the number of horses killed during a fiesta generally exceeded the number of bulls killed.[14] At this point, the picador stabs just behind the morrillo, a mound of muscle on the fighting bull's neck, weakening the neck muscles and leading to the animal's first loss of blood. The manner in which the bull charges the horse provides important clues to the matador about the bull such as which horn the bull favors. As a result of the injury and also the fatigue of striving to injure the armoured heavy horse, the bull holds its head and horns slightly lower during the following stages of the fight. This ultimately enables the matador to perform the killing thrust later in the performance. The encounter with the picador often fundamentally changes the behavior of a bull; distracted and unengaging bulls will become more focused and stay on a single target instead of charging at everything that moves, conserving their diminished energy reserves.[citation needed] Tercio de Banderillas In the next stage, the tercio de banderillas ("the third of banderillas"), each of the three banderilleros attempts to plant two banderillas, sharp barbed sticks, into the bull's shoulders. These anger and agitate the bull reinvigorating him from the aplomado (literally 'leadened') state his attacks on the horse and injuries from the lance left him in. Sometimes a matador will place his own banderillas. If so, he usually embellishes this part of his performance and employs more varied maneuvers than the standard al cuarteo method commonly used by banderilleros.[citation needed] Plaza de Toros Las Ventas in Madrid Tercio de Muerte In the final stage, the tercio de muerte ("a third of death"), the matador re-enters the ring alone with a smaller red cloth, or muleta, and a sword. It is a common misconception that the color red is supposed to anger the bull; the animals are functionally colorblind in this respect: the bull is incited to charge by the movement of the muleta.[15][16] The muleta is thought to be red to mask the bull's blood, although the color is now a matter of tradition. The matador uses his muleta to attract the bull in a series of passes, which serve the dual purpose of wearing the animal down for the kill and creating sculptural forms between man and animal that can fascinate or thrill the audience, and which when linked together in a rhythm create a dance of passes, or faena. The matador will often try to enhance the drama of the dance by bringing the bull's horns especially close to his body. The faena refers to the entire performance with the muleta.[citation needed] The faena is usually broken down into tandas, or "series", of passes. The faena ends with a final series of passes in which the matador, using the cape, tries to maneuver the bull into a position to stab it between the shoulder blades going over the horns and thus exposing his own body to the bull. The sword is called estoque, and the act of thrusting the sword is called an estocada. During the initial series, while the matador in part is performing for the crowd, he uses a fake sword (estoque simulado). This is made of wood or aluminum, making it lighter and much easier to handle. The estoque de verdad (real sword) is made out of steel. At the end of the tercio de muerte, when the matador has finished his faena, he will change swords to take up the steel one. He performs the estocada with the intent of piercing the heart or aorta, or severing other major blood vessels to induce a quick death if all goes according to plan. Often this does not happen and repeated efforts must be made to bring the bull down, sometimes the matador changing to the 'descabello', which resembles a sword, but is actually a heavy dagger blade at the end of a steel rod which is thrust between the cervical vertebrae to sever the spinal column and induce instant death. Even if the descabello is not required and the bull falls quickly from the sword one of the banderilleros will perform this function with an actual dagger to ensure the bull is dead.[citation needed] If the matador has performed particularly well, the crowd may petition the president by waving white handkerchiefs to award the matador an ear of the bull. If his performance was exceptional, the president will award two ears. In certain more rural rings, the practice includes an award of the bull's tail. Very rarely, if the public and the matador believe that the bull has fought extremely bravely – and the breeder of the bull agrees to have it return to the ranch – the event's president may grant a pardon (indulto). If the indulto is granted, the bull's life is spared; it leaves the ring alive and is returned to its home ranch for treatment and then to become a semental, or seed-bull, for the rest of its life.[citation needed] First tercio: torero drawing a Verónica.   First tercio: matador making another kind of Verónica.   Second tercio: banderillero.   Third tercio: faena of muleta.   Third tercio: faena of muleta. Recortes See also: Bull-leaping Goya: The Speed and Daring of Juanito Apiñani in the Ring of Madrid 1815–16 (Tauromaquia, Νο. 20). Etching and aquatint Poster by Cândido de Faria for the silent film Course de taureaux à Séville (1907, Pathé Frères). Chromolithograph. EYE Film Institute Netherlands. Recortes, a style of bullfighting practiced in Navarre, La Rioja, north of Castile and Valencia, has been much less popular than the traditional corridas. But recortes have undergone a revival in Spain and are sometimes broadcast on TV. This style was common in the early 19th century.[citation needed] Etchings by painter Francisco de Goya depict these events. Recortes differ from corridas in the following manners:[citation needed] The bull is not physically injured. Drawing blood is rare, and the bull is allowed to return to his pen at the end of the performance. The men are dressed in common street clothes rather than traditional bullfighting dress. Acrobatics are performed without the use of capes or other props. Performers attempt to evade the bull solely through the swiftness of their movements. Rituals are less strict, so the men have the freedom to perform stunts as they please. Men work in teams, but with less role distinction than with corridas. Teams compete for points awarded by a jury. Since horses are not used, and performers are not professionals, recortes are less costly to produce.[citation needed] Comic bullfighting Comical spectacles based on bullfighting, called espectáculos cómico-taurinos or charlotadas, are still popular in Spain and Mexico. Troupes include El empastre or El bombero torero.[17] Encierros Main article: Running of the Bulls An encierro, or running of the bulls, is an activity related to a bullfighting fiesta. Before the events that are held in the ring, people (usually young men) run in front of a small group of bulls that have been let loose, on a course of a sectioned-off subset of a town's streets.[citation needed] Toro embolado Main article: Toro embolado A toro embolado (in Spanish), bou embolat (in Catalan), roughly meaning "bull with balls", is a festive activity held at night and typical of many towns in Spain (mainly in the Valencian Community and Southern Catalonia). Balls of flammable material are attached to a bull's horns. The balls are lit and the bull is set free in the streets at night; participants dodge the bull when it comes close. It can be considered a variant of an encierro (correbous in Catalan). This activity is held in a number of Spanish towns during their local festivals. Portuguese Main article: Portuguese-style bullfighting Cavaleiro and bull Most Portuguese bullfights are held in two phases: the spectacle of the cavaleiro, and the pega. In the cavaleiro, a horseman on a Portuguese Lusitano horse (specially trained for the fights) fights the bull from horseback. The purpose of this fight is to stab three or four bandeiras (small javelins) into the back of the bull.[citation needed] In the second stage, called the pega ("holding"), the forcados, a group of eight men, challenge the bull directly without any protection or weapon of defense. The frontman provokes the bull into a charge to perform a pega de cara or pega de caras (face grab). The frontman secures the animal's head and is quickly aided by his fellows who surround and secure the animal until he is subdued.[18] Forcados are dressed in a traditional costume of damask or velvet, with long knitted hats as worn by the campinos (bull headers) from Ribatejo. The bull is not killed in the ring and, at the end of the corrida, leading oxen are let into the arena, and two campinos on foot herd the bull among them back to its pen. The bull is usually killed out of sight of the audience by a professional butcher. Some bulls, after an exceptional performance, are healed, released to pasture and used for breeding.[citation needed] In the Portuguese Azores islands, there is a form of bullfighting called tourada à corda, in which a bull is led on a rope along a street, while players taunt and dodge the bull, who is not killed during or after the fight, but returned to pasture and used in later events.[citation needed] French The Roman amphitheater at Arles being fitted for a corrida A bullfight in Arles in 1898. Since the 19th century, Spanish-style corridas have been increasingly popular in Southern France where they enjoy legal protection in areas where there is an uninterrupted tradition of such bull fights, particularly during holidays such as Whitsun or Easter. Among France's most important venues for bullfighting are the ancient Roman arenas of Nîmes and Arles, although there are bull rings across the South from the Mediterranean to the Atlantic coasts. Bullfights of this kind follow the Spanish tradition and even Spanish words are used for all Bullfighting related terms. Minor cosmetic differences exist such as music. This is not to be confused with the bloodless bullfights referred to below which are indigenous to France.[citation needed] Course camarguaise (course libre) A raseteur takes a rosette A more indigenous genre of bullfighting is widely common in the Provence and Languedoc areas, and is known alternately as "course libre" or "course camarguaise". This is a bloodless spectacle (for the bulls) in which the objective is to snatch a rosette from the head of a young bull. The participants, or raseteurs, begin training in their early teens against young bulls from the Camargue region of Provence before graduating to regular contests held principally in Arles and Nîmes but also in other Provençal and Languedoc towns and villages. Before the course, an abrivado—a "running" of the bulls in the streets—takes place, in which young men compete to outrun the charging bulls. The course itself takes place in a small (often portable) arena erected in a town square. For a period of about 15–20 minutes, the raseteurs compete to snatch rosettes (cocarde) tied between the bulls' horns. They do not take the rosette with their bare hands but with a claw-shaped metal instrument called a raset or crochet (hook) in their hands, hence their name. Afterward, the bulls are herded back to their pen by gardians (Camarguais cowboys) in a bandido, amidst a great deal of ceremony. The stars of these spectacles are the bulls.[19] Course landaise Another type of French 'bullfighting' is the "course landaise", in which cows are used instead of bulls. This is a competition between teams named cuadrillas, which belong to certain breeding estates. A cuadrilla is made up of a teneur de corde, an entraîneur, a sauteur, and six écarteurs. The cows are brought to the arena in crates and then taken out in order. The teneur de corde controls the dangling rope attached to the cow's horns and the entraîneur positions the cow to face and attack the player. The écarteurs will try, at the last possible moment, to dodge around the cow and the auteur will leap over it. Each team aims to complete a set of at least one hundred dodges and eight leaps. This is the main scheme of the "classic" form, the course landaise formelle. However, different rules may be applied in some competitions. For example, competitions for Coupe Jeannot Lafittau are arranged with cows without ropes.[citation needed] At one point, it resulted in so many fatalities that the French government tried to ban it but had to back down in the face of local opposition. The bulls themselves are generally fairly small, much less imposing than the adult bulls employed in the corrida. Nonetheless, the bulls remain dangerous due to their mobility and vertically formed horns. Participants and spectators share the risk; it is not unknown for angry bulls to smash their way through barriers and charge the surrounding crowd of spectators. The course landaise is not seen as a dangerous sport by many, but écarteur Jean-Pierre Rachou died in 2003 when a bull's horn tore his femoral artery.[citation needed] Non-bloodsport variations A youth trying to take control of a bull at a Jallikattu in Tamil Nadu, India In California, the lances are tipped with hook and loop fasteners (e.g. Velcro) and aimed at pads on the bull. In Bolivia, bulls are not killed nor injured with any sticks. The goal of Bolivian toreros is to provoke the bull with taunts without getting harmed themselves.[20] In El Seibo Province of the Dominican Republic bullfights are not about killing or harming the animal, but taunting and evading it until it is tired.[21] In Canada, Portuguese-style bullfighting was introduced in 1989 by Portuguese immigrants in the town of Listowel in southern Ontario. Despite objections and concerns from local authorities and a humane society, the practice was allowed as the bulls were not killed or injured in this version.[22] In the nearby city of Brampton, Portuguese immigrants from the Azores practice "tourada a corda" (bullfight by rope).[23] Jallikattu is a traditional spectacle in Tamil Nadu, India as a part of Pongal celebrations on Mattu Pongal day. A breed of bos indicus (humped) bulls, called "Jellicut" are used.[24] During jallikattu, a bull is released into a group of people, and participants attempt to grab the bull's hump and hold onto it for a determined distance, length of time, or with the goal of taking a pack of money tied to the bull's horns. The goal of the activity is more similar to bull riding (staying on).[25] American Freestyle Bullfighting is a style of bullfighting developed in American rodeo. The style was developed by the rodeo clowns who protect bull riders from being trampled or gored by a loose bull. Freestyle bullfighting is a 70-second competition in which the bullfighter (rodeo clown) avoids the bull by means of dodging, jumping, and use of a barrel.[26] Ultimate Freestyle Bullfighting competition combines American Freestyle Bullfighting with parkour, displaying hardcore stunts and acrobatics. Both bullfighter and bull receive scores.[27] In the Central Valley, California, US the historically Portuguese community has developed a form of bullfight in which the bull is taunted by a matador, but the lances are tipped with fabric hook and loop (e.g. Velcro) and they are aimed at hook-and-loop covered pads secured to the bull's shoulder.[28] Fights occur from May through October around traditional Portuguese holidays.[29] While California outlawed bullfighting in 1957, this type of bloodless bullfighting is still allowed if carried out during religious festivals or celebrations.[30] In Tanzania, Bullfighting was introduced by the Portuguese to Zanzibar and to Pemba Island, in modern Tanzania, where it is known as mchezo wa ngombe. Similar to the Portuguese Azorean tourada a corda, the bull is restrained by a rope, generally neither bull nor player is harmed, and the bull is not killed at the end of the fight.[31][32] Hazards This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2020) (Learn how and when to remove this template message) Muerte del Maestro (Death of the Master) – José Villegas Cordero, 1884 Stuffed bull head in a bar in San Sebastián Spanish-style bullfighting is normally fatal for the bull, but it is also dangerous for the matador. The danger for the bullfighter is essential; if there is no danger, it is not considered bullfighting in Spain. Matadors are usually gored every season, with picadors and banderilleros being gored less often. With the discovery of antibiotics and advances in surgical techniques, fatalities are now rare, although over the past three centuries 534 professional bullfighters have died in the ring or from injuries sustained there. Most recently, Iván Fandiño died of injuries he sustained after being gored by a bull on June 17, 2017 in Aire-sur-l'Adour, France.[citation needed] Some matadors, notably Juan Belmonte, have been seriously gored many times: according to Ernest Hemingway, Belmonte's legs were marred by many ugly scars. A special type of surgeon has developed, in Spain and elsewhere, to treat cornadas, or horn-wounds.[citation needed] The bullring has a chapel where a matador can pray before the corrida, and where a priest can be found in case a sacrament is needed. The most relevant sacrament is now called "Anointing of the Sick"; it was formerly known as "Extreme Unction", or the "Last Rites".[citation needed] The media often reports the more horrific of bullfighting injuries, such as the September 2011 goring of matador Juan José Padilla's head by a bull in Zaragoza, resulting in the loss of his left eye, use of his right ear, and facial paralysis. He returned to bullfighting five months later with an eyepatch, multiple titanium plates in his skull, and the nickname 'The Pirate'.[33] Until the early twentieth century, the horses were unprotected and were commonly gored and killed, or left close to death (intestines destroyed, for example). The horses used were old and worn-out, with little value. Starting in the twentieth-century horses were protected by thick blankets and wounds, though not unknown, were less common and less serious.[citation needed] Cultural aspects Many supporters of bullfighting regard it as a deeply ingrained, integral part of their national cultures; in Spain, bullfighting is nicknamed la fiesta nacional ("the national fiesta."[34] Notice that fiesta can be translated as celebration, festival, party among other words). The aesthetic of bullfighting is based on the interaction of the man and the bull. Rather than a competitive sport, the bullfight is more of a ritual of ancient origin, which is judged by aficionados based on artistic impression and command.[35] American author Ernest Hemingway wrote of it in his 1932 non-fiction book Death in the Afternoon: "Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter's honor."[36] Bullfighting is seen by some as a symbol of Spanish national culture.[37][34] The bullfight is regarded as a demonstration of style, technique, and courage by its participants[35] and as a demonstration of cruelty and cowardice by its critics.[38] While there is usually no doubt about the outcome, the bull is not viewed by bullfighting supporters as a sacrificial victim — it is instead seen by the audience as a worthy adversary, deserving of respect in its own right.[35] Those who oppose bullfighting maintain that the practice is a cowardly, sadistic tradition of torturing, humiliating and killing a bull amidst pomp and pageantry.[39] Supporters of bullfights, called "aficionados", claim to respect the bulls, that the bulls live better than other cattle, and that bullfighting is a grand tradition, a form of art important to their culture.[40] Women in bullfighting Further information: Spanish-style bullfighting § Women in bullfighting, and List of female bullfighters Conchita Cintrón was a Peruvian female bullfighter who began her career in Portugal before being active in Mexican and other South American bullfights.[41] Patricia McCormick began bullfighting as a professional Matadora in January 1952, and was the first American to do so.[42] Bette Ford was the first American woman to fight on foot in the Plaza México, the world's largest bullfight arena.[43] In 1974, Angela Hernandez (also known as Angela Hernandez Gomez and just Angela), of Spain, won a case in the Spanish Supreme Court allowing women to be bullfighters in Spain; a prohibition against women doing so was put in place in Spain in 1908.[44][45] Cristina Sánchez de Pablos, of Spain, was one of the first female bullfighters to gain prominence; she debuted as a bullfighter in Madrid on 13 February 1993.[citation needed] Popularity, controversy, and criticism Popularity In Spain and Latin America, opposition to bullfighting is referred to as the antitaurino movement.[citation needed] In a 2012 poll, 70% of Mexican respondents wanted bullfighting to be prohibited.[46] France Are you in favour of banning bullfighting in France or not?[47] % response Sep 2007 Aug 2010 Feb 2018 In favour 50 66 74 Not in favour 50 34 26 A February 2018 study commissioned by the 30 millions d'amis foundation and conducted by the Institut français d'opinion publique (IFOP) found that 74% of the French wanted to prohibit bullfighting in France, with 26% opposed. In September 2007, these percentages were still 50-50, with those favouring a ban growing to 66% in August 2010 and those opposed shrinking to 34%. The survey found a correlation between age and opinion; younger survey participants were more likely to support a ban.[47] Spain Prevalence of bullfighting across Spanish provinces during the 19th century. Prevalence of bullfighting across Spanish provinces as of 2012. Despite its slow decrease in popularity among younger generations, bullfighting remains a widespread cultural activity with millions of followers throughout Spain. Polls have yielded mixed results over the years with wide fluctuations, but many evince widespread support for a complete ban on bullfighting.[citation needed] A 2016 poll reported that 67% of Spaniards felt "little to not at all" pride to live in a country where bullfighting was a cultural tradition, with the number skyrocketing to 84% for people aged 16 to 24. According to the same poll, only 10% of Spaniards aged 16 to 34 supported bullfighting.[48] A survey conducted by Spanish newspaper El Pais showed that only 37% of Spaniards were bullfighting fans.[citation needed] Between 2007 and 2014, the number of corridas held in Spain decreased by 60%.[49] In 2007 there were 3,651 bullfighting and bull-related events in Spain but by 2018, the number of bullfights had decreased to 1,521, a historic low.[50][51] A September 2019 Spanish government report showed that only 8% of the population had attended a bull-related event in 2018; of this percentage, 5.9% attended a bullfight while the remainder attended other bull-related events, such as the running of the bulls.[51] When asked to gauge their interest in bullfighting on a scale of 0 through 10, only 5.9% responded with 9–10. A majority of 65% of responded with 0–2; among those aged 15–19, this figure was 72.1%, and for those aged 20–24, it reached 76.4%.[51] With a fall in attendance, the bullfighting sector has come under financial stress, as many local authorities have reduced subsidies because of public criticism.[51] Should bullfighting be banned [in Spain]?[52] % response May 2020 Yes 52 No 35 Don't know / Refused answer 10 / 2 When the pandemic Spain and the country entered into lockdown in March 2020, all bullfighting events were cancelled indefinitely. In mid-May 2020, after more than 26,000 Spaniards had died from the virus, the bullfighting industry demanded that the government compensate them for their losses, estimated at €700 million. This prompted outrage, and more than 100,000 people signed a petition launched by AnimaNaturalis urging the government not to rescue "spectacles based on the abuse and mistreatment of animals" with taxpayer money at a time when people were struggling to survive and public finances were already heavily strained.[50] A 29–31 May 2020 YouGov survey commissioned by HuffPost showed that 52% of the 1,001 Spaniards questioned wanted to ban bullfighting, 35% were opposed, 10% did not know and 2% refused to answer. A strong majority of 78% answered that corridas should no longer be partially subsidised by the government, with 12% favoring subsidies and 10% undecided. When asked whether bullfighting was culture or mistreatment, 40% replied that it is mistreatment alone, 18% replied that it is culture alone and 37% replied that it is both. Of the respondents, 53% had never attended a corrida.[52] Animal welfare Bull dying in a bullfight RSPCA assistant director for public affairs David Bowles said: "The RSPCA is strongly opposed to bullfighting. It is an inhumane and outdated practice that continues to lose support, including from those living in the countries where this takes place such as Spain, Portugal and France."[53] The bullfighting guide The Bulletpoint Bullfight warns that bullfighting is "not for the squeamish," advising spectators to "be prepared for blood." The guide details prolonged and profuse bleeding caused by horse-mounted lancers, the charging by the bull of a blindfolded, armored horse who is "sometimes doped up, and unaware of the proximity of the bull", the placing of barbed darts by banderilleros and the matador's fatal sword thrust. The guide stresses that these procedures are a normal part of bullfighting and that death is rarely instantaneous. The guide further warns those attending bullfights to "Be prepared to witness various failed attempts at killing the animal before it lies down."[54] Alexander Fiske-Harrison, who trained as a bullfighter to research for his book on the topic (and trained in biological sciences and moral philosophy before that) has pointed out that the bull lives three times longer than do cattle reared exclusively for meat, and lives wild during that period in meadows and forests which are funded by the premium the bullfight's box office adds on to the price of their meat, should be taken into account when weighing concerns about both animal welfare and the environment. He also speculated that the adrenalizing nature of the 30-minute spectacle may reduce the bull's suffering even below that of the stress and anxiety of queueing in the abattoir.[55][56] However, zoologist and animal rights activist Jordi Casamitjana argues that the bulls do experience a high degree of suffering and "all aspects of any bullfight, from the transport to the death, are in themselves causes of suffering."[57] Funding A ticket stub from 1926 The question of public funding is particularly controversial in Spain, since widely disparaged claims have been made by supporters and opponents of bullfighting. According to government figures, bullfighting in Spain generates €1.6 billion a year and 200,000 jobs, 57,000 of which are directly linked to the industry.[citation needed] Furthermore, bullfighting is the cultural activity that generates the most tax revenue for the Spanish state (€45 million in VAT and over €12 million in social security). According to a poll, 73% of Spaniards oppose public funding for bullfighting activities.[48] Critics often claim that bullfighting is financed with public money. However, though bullfighting attracts 25 million spectators annually, it represents just 0.01% of state subsidies allocated to cultural activities, and less than 3% of the cultural budget of regional, provincial and local authorities. The bulk of subsidies is paid by town halls in localities where there is a historical tradition and support for bullfighting and related events, which are often held free of charge to participants and spectators. The European Union does not subsidize bullfighting but it does subsidize cattle farming in general, which also benefits those who rear Spanish fighting bulls.[58] In 2015, 438 of 687 members of the European Parliament voted in favour of amending the 2016 E.U. budget to indicate that the "Common Agricultural Policy (CAP) appropriations or any other appropriations from the budget should not be used for the financing of lethal bullfighting activities."[59] Politics In the late 19th and early 20th century, some Spanish regeneracionista intellectuals protested against what they called the policy of pan y toros ("bread and bulls"), an analogue of Roman panem et circenses. Such belief was part of the wider current of thought known as anti-flamenquismo, a campaign against the popularity of both bullfighting and flamenco music, which were believed to be "oriental" elements of Spanish culture that were responsible for Spain's perceived culture gap compared to the rest of Europe. In Francoist Spain, bullfights received great governmental support, as they were considered a demonstration of greatness of the Spanish nation and received the name of fiesta nacional.[citation needed] Bullfighting was therefore highly associated with the regime. After Spain's transition to democracy, popular support for bullfighting declined.[citation needed] Opposition to bullfighting from Spain's political parties is typically highest among those on the left. PSOE, the main centre-left political party, has distanced itself from bullfighting but refuses to ban it, while Spain's largest left-wing political party Podemos has repeatedly called for referenda on the matter and has shown disapproval of the practise.[60][61] PP, the largest conservative party, strongly supports bullfighting and has requested large public subsidies for it.[62] The government of José Luis Rodríguez Zapatero was the first to oppose bullfighting, prohibiting children under 14 from attending events and imposing a six-year ban on live bullfights broadcast on state-run national television, although the latter measure was reversed after Zapatero's party lost in the 2011 elections.[63] Despite its long history in Barcelona, bullfighting was outlawed across the Catalonia region in 2010 following a campaign led by an animal-rights civic platform called "Prou!" ("Enough!" in Catalan). Critics have argued that the ban was motivated by issues of Catalan separatism and identity politics.[64] In October 2016, the Constitutional Court ruled that the regional Catalan Parliament did not have the authority to ban events that are legal in Spain. The Spanish Royal Family is divided on the issue. Former queen consort Sofía of Spain disapproves of bullfights,[65] but former king Juan Carlos occasionally presided over bullfights from the royal box.[66][67][68] Their daughter Princess Elena is well-known for her support of the practise and often attends bullfights.[69] Pro-bullfighting supporters include former prime minister Mariano Rajoy and his party (Partido Popular), as well as most leaders of the opposition PSOE party, including former prime minister Felipe Gonzalez and the current presidents of Andalusia, Extremadura and Castilla–La Mancha. Religion Pope Pius V's bull against bullfighting and other blood sports involving wild animals (1567) Bullfighting is thought to have been practised since prehistoric times throughout the entire Mediterranean coast, but it survives only in Iberia and in part of France.[70] During the Arab rule of Iberia, the ruling class tried to ban bullfighting, considering it a pagan celebration and heresy.[71] In the 16th century, Pope Pius V banned bullfighting for its ties to paganism and for the danger that it posed to the participants.[72] Anyone who would sponsor, watch or participate in a bullfight was to be excommunicated by the church.[72] Spanish and Portuguese bullfighters kept the tradition alive covertly, and Pius's successor Pope Gregory XIII relaxed the church's position.[73] However, Pope Gregory advised bullfighters to not use the sport as means of honoring Jesus Christ or the saints, as was typical in Spain and Portugal.[72] Bullfighting has been intertwined with religion and religious folklore in Spain at a popular level, particularly in the areas in which it has been most popular.[74][75] Bullfighting events are celebrated during festivities celebrating local patron saints, along with other activities, games and sports. The bullfighting world is also inextricably linked to iconography related to religious devotion in Spain, with bullfighters seeking the protection of Mary and often becoming members of religious brotherhoods.[76][77] Media prohibitions State-run Spanish TVE had cancelled live coverage of bullfights in August 2007 until September 2012, claiming that the coverage was too violent for children and that live coverage violated a voluntary, industry-wide code attempting to limit "sequences that are particularly crude or brutal."[78] In a October 2008 statement to Congress, Luis Fernández, the president of Spanish state broadcaster TVE, confirmed that the station would no longer broadcast live bullfights because of high production costs and a lack of advertiser support. However, the station continued to broadcast Tendido Cero, a bullfighting magazine programme.[79] Other regional and private channels kept broadcasting it with good audiences.[80] Prime Minister Mariano Rajoy's government lifted the ban, and live bullfights are now shown at the traditional 6:00 p.m. time on TVE as of September 2012.[63] A television station in Costa Rica stopped the broadcast of bullfights in January 2008 over concerns that they were too violent for minors.[81][failed verification] Declaration as cultural patrimony A growing list of Spanish, Portuguese and South American cities and regions have formally declared their bullfighting celebrations as part of their protected cultural patrimony or heritage. Most of these declarations have been enacted in reaction to the 2010 ban in Catalonia.[82] In April 2012, the Andalusian city of Seville declared bullfighting to be part of the city's cultural heritage.[83] Laws Pre-20th century Plaza de toros de Acho in Lima, Peru—the oldest bullring in South America, dating back to 1766 In November 1567, Pope Pius V issued a papal bull titled De Salute Gregis forbidding the fighting of bulls and other beasts as a voluntary risk to life which endangered the soul of the combatants. However it was rescinded eight years later by his successor, Pope Gregory XIII, at the request of King Philip II. Chile banned bullfighting shortly after gaining independence in 1818, but the Chilean rodeo (which involves horseriders in an oval arena blocking a female cow against the wall without killing it) is still legal and has even been declared a national sport.[84] Bullfighting was introduced in Uruguay in 1776 by Spain and abolished by Uruguayan law in February 1912; thus the Plaza de toros Real de San Carlos, built in 1910, only operated for two years.[85] Bullfighting was also introduced in Argentina by Spain, but after Argentina's independence, the event drastically diminished in popularity and was abolished in 1899 under law 2786.[86] Bullfighting was present in Cuba during its colonial period from 1514 to 1898, but was abolished by the United States military under the pressure of civic associations in 1899, right after the Spanish–American War of 1898. The prohibition was maintained after Cuba gained independence in 1902.[87] Bullfighting was also banned for a period in Mexico in 1890; consequently some Spanish bullfighters moved to the United States to transfer their skills to the American rodeos.[88] During the 18th and 19th centuries, bullfighting in Spain was banned at several occasions[citation needed] (for instance by Philip V), but always reinstituted later by other governments. Bullfighting had some popularity in the Philippines during Spanish rule, though foreign commentators derided the quality of local bulls and toreros.[89][90] Bullfighting was noted in the Philippines as early as 1619, when it was among the festivities in celebration of Pope Urban III's authorisation of the Feast of the Immaculate Conception.[91] Following the Spanish–American War, the Americans suppressed the custom in the Philippines under the tenure of Governor General Leonard Wood, and it was replaced with a now-popular Filipino sport, basketball.[92] 20th century onwards vteWorld laws on bullfighting    Nationwide ban on bullfighting    Nationwide ban on bullfighting, but some designated local traditions exempted    Some subnational bans on bullfighting    Bullfighting without killing bulls in the ring legal (Portuguese style or 'bloodless')    Bullfighting with killing bulls in the ring legal (Spanish style)    No data Bullfighting is now banned in many countries; people taking part in such activity would be liable for terms of imprisonment for animal cruelty. "Bloodless" variations, though, are often permitted and have attracted a following in California, Texas, and France.[93] In southern France, however, the traditional form of the corrida still exists and it is protected by French law. However, in June 2015 the Paris Court of Appeals removed bullfighting/"la corrida" from France's cultural heritage list.[94][95][96] While it is not very popular in Texas, bloodless forms of bullfighting occur at rodeos in small Texas towns.[97] Several cities around the world (especially in Catalonia) have symbolically declared themselves to be Anti-Bullfighting Cities, including Barcelona in 2006. Colombia Bullfighting with killing bulls in the ring is legal in Colombia.[98] In 2013, Gustavo Petro, then mayor of the Colombian capital city of Bogotá, had de facto prohibited bullfighting by refusing to lease out bullrings to bullfighting organisers. But the Constitutional Court of Colombia ruled that this violated the right to expression of the bullfighters, and ordered the bullrings to be reopened. The first bullfight in Bogotá in four years happened on 22 January 2017 amid clashes between antitaurino protesters and police.[99] Costa Rica In Costa Rica the law prohibits the killing of bulls and other animals in public and private shows.[100] However, there are still bullfights, called "Toros a la Tica", that are televised from Palmares and Zapote at the end and beginning of the year. Volunteer amateur bullfighters (improvisados) confront a bull in a ring and try to provoke him into charging and then run away.[101] In a December 2016 survey, 46.4% of respondents wanted to outlaw bullfights while 50.1% thought they should continue.[102] The bullfights do not include spears or any other device to harm the bull and resemble the running of the bulls in Pamplona, the difference being that the Costa Rican event takes place in an arena rather than in the streets, as in Pamplona. Ecuador Ecuador staged bullfights to the death for over three centuries as a Spanish colony. On 12 December 2010, Ecuador's president Rafael Correa announced that in an upcoming referendum, the country would be asked whether to ban bullfighting;[103][104][105] in the referendum, held in May 2011, the Ecuadorians agreed on banning the final killing of the bull that happens in a corrida.[106] This means the bull is no longer killed before the public, and is instead taken back inside the barn to be killed at the end of the event. The other parts of the corrida are still performed the same way as before in the cities that celebrate it.[107] This part of the referendum is applied on a regional level, meaning that in regions where the population voted against the ban, which are the same regions where bullfighting is celebrated the most, killing the animal publicly in the bullfighting plaza is still performed. The main bullfighting celebration of the country, the Fiesta Brava in Quito was still allowed to take place in December 2011 after the referendum under these new rules.[108] France In 1951,[109] bullfighting in France was legalised by §7 of Article 521-1 of the French penal code in areas where there was an 'unbroken local tradition'.[110] This exemption applies to Nîmes, Arles, Alès, Bayonne, Carcassonne, and Fréjus, amongst others.[109] In 2011, the French Ministry of Culture added corrida to the list of 'intangible heritage' of France, but after much controversy silently removed it from its website again. Animal rights activists launched a lawsuit to make sure it was completely removed from the heritage list and thus not given extra legal protection; the Administrative Appeals Court of Paris ruled in their favour in June 2015.[111] In a separate case, the Constitutional Council ruled on 21 September 2012 that bullfighting did not violate the French Constitution.[112] Honduras In Honduras, under Article 11 of 'Decree no. 115-2015 ─ Animal Protection and Welfare Act' that went into effect in 2016, dog and cat fights and duck races are prohibited, while 'bullfighting shows and cockfights are part of the National Folklore and as such allowed'. However, 'in bullfighting shows, the use of spears, swords, fire or other objects that cause pain to the animal is prohibited.'[113] India Main article: Jallikattu See also: 2017 pro-jallikattu protests Jallikattu, a type of bull-taming or bull-riding event, is practiced in the Indian state of Tamil Nadu. A bull is released into a crowd of people. Participants attempt to grab the bull's hump and either hold on for a determined distance or length of time or attempt to liberate a packet of money tied to the bull's horns. The practice was banned in 2014 by India's Supreme Court over concerns that bulls are sometimes mistreated prior to jallikattu events. Animal welfare investigations into the practice revealed that some bulls are poked with sticks and scythes, some have their tails twisted, some are force-fed alcohol to disorient them, and in some cases chili powder and other irritants are applied to bulls' eyes and genitals to agitate the animals.[114] The 2014 ban was suspended and reinstated several times over the years. In January 2017, the Supreme Court upheld their previous ban and various protests arose in response. Due to these protests, on 21 January 2017, the Governor of Tamil Nadu issued a new ordinance that authorized the continuation of jallikattu events.[115] On 23 January 2017 the Tamil Nadu legislature passed a bi-partisan bill, with the accession of the Prime Minister, exempting jallikattu from the Prevention of Cruelity to Animals Act (1960).[116] As of January 2017 Jallikattu is legal in Tamil Nadu,[117] but another organization may challenge the mechanism by which it was legalized,[118] as the Animal Welfare Board of India claims that the Tamil Nadu Legislative Assembly does not have the power to override Indian federal law, meaning that the state law could possibly once again be nullified and jallikattu banned.[119][120] Mexico Bullfighting has been banned in four Mexican states: Sonora in 2013, Guerrero in 2014, Coahuila in 2015,[121] and Quintana Roo in 2019.[122] Panama Law 308 on the Protection of Animals was approved by the National Assembly of Panama on 15 March 2012. Article 7 of the law states: 'Dog fights, animal races, bullfights – whether of the Spanish or Portuguese style – the breeding, entry, permanence and operation in the national territory of all kinds of circus or circus show that uses trained animals of any species, are prohibited.' Horse racing and cockfighting were exempt from the ban.[123] Nicaragua Nicaragua prohibited bullfighting under a new Animal Welfare Law in December 2010, with 74 votes in favour and 5 votes against in Parliament.[124] Portugal Further information: Portuguese-style bullfighting § Attempts at prohibition Queen Maria II of Portugal prohibited bullfighting in 1836 with the argument that it was unbefitting for a civilised nation. The ban was lifted in 1921, but in 1928 a law was passed that forbade the killing of the bull during a fight. In practice, bulls still frequently die after a fight from their injuries or by being slaughtered by a butcher.[125] In 2001, matador Pedrito de Portugal controversially killed a bull at the end of a fight after spectators encouraged him to do so by chanting "Kill the bull! Kill the bull!"[125] The crowds gave Pedrito a standing ovation, hoisted him on their shoulders and paraded him through the streets.[125] Hours later the police arrested him and charged him with a fine, but they released him after crowds of angry fans surrounded the police station.[125] A long court case ensued, finally resulting in Pedrito's conviction in 2007 with a fine of €100,000.[125] In 2002, the Portuguese government gave Barrancos, a village near the Spanish border where bullfighting fans stubbornly persisted in encouraging the killing of bulls during fights, a dispensation from the 1928 ban.[125] Various attempts have been made to ban bullfighting in Portugal, both nationally (in 2012 and 2018) and locally, but so far unsuccessful. In July 2018, animalist party PAN presented a proposal at the Portuguese Parliament to abolish all types of bullfighting in the country. Left-wing party Left Bloc voted in favour of the proposal but criticised its lack of solutions to the foreseen consequences of the abolition. The proposal was however categorically rejected by all other parties, that cited freedom of choice and respect for tradition as arguments against it.[126][127] Spain Legal situation of bullfighting in Spain in 2015 (overturned in 2016)ː   Bullfighting banned.   Bullfighting legal, but traditionally not practiced.   Bullfighting banned, but other spectacles involving cattle protected by law.   Bullfighting legal, but banned in some places.   Bullfighting legal.   Bullfighting legal and protected by law (declared as Cultural Interest or Intangible Cultural Heritage). The parliament of the Spanish region of Catalonia voted in favour of a ban on bullfighting in 2009, which went into effect in 2012.[51] The Spanish national parliament passed a law in 2013 stating that bullfighting is an 'indisputable' part of Spain's 'cultural heritage'; this law was used by the Spanish Constitutional Court in 2016 to overturn the Catalan ban of 2012.[51] When the island of Mallorca adopted a law in 2017 that prohibited the killing of a bull during a fight, this law was also declared partially unconstitutional by the Spanish Constitutional Court in 2018, as the judges ruled that the death of the bull was part of the essence of a corrida.[51] Canary Islands In 1991, the Canary Islands became the first Spanish Autonomous Community to ban bullfighting,[64] when they legislated to ban spectacles that involve cruelty to animals, with the exception of cockfighting, which is traditional in some towns in the Islands;[128] bullfighting was never popular in the Canary Islands. Some supporters of bullfighting and even Lorenzo Olarte Cullen,[129] Canarian head of government at the time, have argued that the fighting bull is not a "domestic animal" and hence the law does not ban bullfighting.[130] The absence of spectacles since 1984 would be due to lack of demand. In the rest of Spain, national laws against cruelty to animals have abolished most blood sports, but specifically exempt bullfighting. Catalonia Main article: Ban on bullfighting in Catalonia Wikinews has related news: Bull fighting banned in Catalonia On 18 December 2009, the parliament of Catalonia, one of Spain's seventeen Autonomous Communities, approved by majority the preparation of a law to ban bullfighting in Catalonia, as a response to a popular initiative against bullfighting that gathered more than 180,000 signatures.[131] On 28 July 2010, with the two main parties allowing their members a free vote, the ban was passed 68 to 55, with 9 abstentions. This meant Catalonia became the second Community of Spain (first was Canary Islands in 1991), and the first on the mainland, to ban bullfighting. The ban took effect on 1 January 2012, and affected only the one remaining functioning Catalan bullring, the Plaza de toros Monumental de Barcelona.[64][132] It did not affect the correbous, a traditional game of the Ebro area (south of Catalonia) where lighted flares are attached to a bull's horns. The correbous are seen mainly in the municipalities in the south of Tarragona, with the exceptions of a few other towns in other provinces of Catalonia. The name correbous is essentially Catalan and Valencian; in other parts of Spain they have other names.[133] A movement emerged to revoke the ban in the Spanish congress, citing the value of bullfighting as "cultural heritage". The proposal was backed by the majority of parliamentarians in 2013.[134] In October 2016 the Spanish Constitutional Court ruled that the regional Catalan Parliament had no competence to ban any kind of spectacle that is legal in Spain.[135] Galicia In Galicia, bullfighting has been banned in many cities by the local governments.[citation needed] Bullfighting has never had an important following in the region.[136] United States Bullfighting was outlawed in California in 1957, but the law was amended in response to protests from the Portuguese community in Gustine.[137] Lawmakers determined that a form of "bloodless" bullfighting would be allowed to continue, in affiliation with certain Christian holidays. Though the bull is not killed as with traditional bullfighting, it is still intentionally irritated and provoked and its horns are shaved down to prevent injury to people and other animals present in the ring, but serious injuries still can and do occur and spectators are also at risk.[138][139] The Humane Society of the United States has expressed opposition to bullfighting in all its forms since at least 1981.[140] Puerto Rico banned bullfighting and the breeding of bulls for fights by Law no. 176 of 25 July 1998.[141] In literature, film, and the arts Bullfighting statue at Shilpacharya Zainul Abedin Folk Arts and Crafts Museum, Bangladesh Death in the Afternoon, Ernest Hemingway's treatise on Spanish bullfighting The Dangerous Summer, Ernest Hemingway's chronicle of the bullfighting rivalry between Luis Miguel Dominguín and his brother-in-law Antonio Ordóñez The Sun Also Rises, a novel by Ernest Hemingway, includes many accounts of bullfighting. Bullfighter from Brooklyn (1953), autobiography by matador Sidney Franklin Into The Arena: The World Of The Spanish Bullfight (2011), book by Alexander Fiske-Harrison about his time in Spain as an aficionado in 2009 and as a bullfighter in 2010.ISBN 1847654290 The Wild Man (2001), novel by Patricia Nell Warren about a non-conformist gay torero, set in 1960s Fascist Spain. Shadow of a Bull (1964), novel by Maia Wojciechowska about a bullfighter's son, Manolo Olivar The Story of a Matador, David L. Wolper's 1962 documentary about the life of matador Jaime Bravo Talk to Her, film by Pedro Almodóvar, contains subplot concerning female matador who is gored during a bullfight. The director was criticized for shooting footage of a bull being actually killed during a bullfight staged especially for the film. Ricardo Montalbán portrayed bullfighters in Santa (1943), The Hour of Truth (1945), Fiesta (1947), and Columbo episode "A Matter of Honor" (1976). Ferdinand, an animated film covering the adventures of Ferdinand the bull as he is raised and trained to become a bull in the ring. The opera Carmen features a bullfighter as a major character, a well-known song about him, and a bullfight off-stage at the climax. Llanto por Ignacio Sánchez Mejías ("Lament for Ignacio Sánchez Mejías", 1935), a poem by Federico García Lorca. Blood and Sand, a movie starring Tyrone Power and Rita Hayworth ¡Que viva México!, a film directed by Sergei Eisenstein, has a segment featuring a bullfight. Take a Bow, music video revolved around famous bullfighter Madonna (1994). The Book of Life, an animated movie about a bullfighter who wants to be a musician ' Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal.[14] In modern manufacturing, other chemicals may be used on other types of material. As a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of modern variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology, including circuit boards. In traditional pure etching, a metal plate (usually of copper, zinc or steel) is covered with a waxy ground which is resistant to acid.[15] The artist then scratches off the ground with a pointed etching needle[16] where the artist wants a line to appear in the finished piece, exposing the bare metal. The échoppe, a tool with a slanted oval section, is also used for "swelling" lines.[17] The plate is then dipped in a bath of acid, known as the mordant (French for "biting") or etchant, or has acid washed over it.[18] The acid "bites" into the metal (it undergoes a redox reaction) to a depth depending on time and acid strength, leaving behind the drawing carved into the wax on the plate. The remaining ground is then cleaned off the plate. For first and renewed uses the plate is inked in any chosen non-corrosive ink all over and the surface ink drained and wiped clean, leaving ink in the etched forms. The plate is then put through a high-pressure printing press together with a sheet of paper (often moistened to soften it).[19] The paper picks up the ink from the etched lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the plate shows much sign of wear. The work on the plate can be added to or repaired by re-waxing and further etching; such an etching (plate) may have been used in more than one state. Etching has often been combined with other intaglio techniques such as engraving (e.g., Rembrandt) or aquatint (e.g., Francisco Goya). Aquatint is an intaglio printmaking technique, a variant of etching that produces areas of tone rather than lines. For this reason it has mostly been used in conjunction with etching, to give both lines and shaded tone.[1] It has also been used historically to print in colour, both by printing with multiple plates in different colours, and by making monochrome prints that were then hand-coloured with watercolour. Demonstration sections of printed aquatint, magnified. It has been in regular use since the later 18th century, and was most widely used between about 1770 and 1830, when it was used both for artistic prints and decorative ones. After about 1830 it lost ground to lithography and other techniques.[2] There have been periodic revivals among artists since then.[3] An aquatint plate wears out relatively quickly, and is less easily reworked than other intaglio plates. Many of Goya's plates were reprinted too often posthumously, giving very poor impressions.[4] Among the most famous prints using the aquatint technique are the major series by Goya, many of The Birds of America by John James Audubon (with the colour added by hand), and prints by Mary Cassatt printed in colour using several plates.
  • Condition: Used
  • Condition: Very good - Excellent condition. See description.
  • Size: Medium
  • Region of Origin: Spain
  • Type: Print
  • Signed: No
  • Original/Licensed Reprint: Original
  • Unit of Sale: Single Piece
  • Artist: Goya
  • Production Technique: Etching
  • Style: Realism
  • Material: Paper
  • Theme: Animals, Art
  • Subject: Landscape
  • Original/Reproduction: Original Print
  • Listed By: Dealer or Reseller
  • Edition Type: Limited Edition
  • Print Type: Etching
  • Size Type/Largest Dimension: Small (Up to 14in.)
  • Date of Creation: 1900-1949

PicClick Insights - RARE Etching Aquatint Print - Tauromaquia Bull Fight - Francisco GOYA Plate 2 PicClick Exclusive

  •  Popularity - 4 watchers, 0.1 new watchers per day, 56 days for sale on eBay. Very high amount watching. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 8,797+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive