Goya + Dalí + Picasso
12:11 a.m.
21/01/18 - A romantic, a modernist and a surrealist all together at the same place because of one same subject: tauromachy. The Museo de Arte Español Enrique Larreta is presenting three of the most relevant artists in the history of Spain: Francisco de Goya (1746-1828), Salvador Dalí (1904-1989) and Pablo Picasso (1881-1973).
The exhibition takes place in three galleries, one dedicated to each artist, all of them displaying etchings and aquatints. The subject of the works (bullfighting) seems to be a bit outdated today, because of the cruelty it involves, even though these artists focused their paintings in the relationship between man and bull. Beyond the debate, bullfighting is part of the culture and tradition of the Spanish people and as such we shall review this exhibition.
Estampa N. 38E, Espanto y confusión en la defensa del chulo cogido, by Francisco de Goya
Serie Tauromaquia, 1818
Technique: etching, aquatint / Measures: 25.7 x 36.5 cm
Estampa N. 17, Palenque de los moros hecho con burros para defenderse del toro embolado, by Francisco de Goya
Serie Tauromaquia, 1818
Technique: etching, aquatint / Measures: 24.5 x 35 cm
We begin with Goya, who was an expert in portraying gestures and human behavior not without hidden social criticism. The small aquatints represent a very defined instant: that in which the animal rebels against man and the tragic end awaits. The sign in the gallery explains that these etchings were made with the recollections of actual bullfights witnessed by the artist.
Tauromaquia en el cajón, by Salvador Dalí (1966) - Serie Tauromaquia Surrealista
Technique: etchings colored with stencils / Measures: 31.8 x 41.2 cm
Los Molinos, by Salvador Dalí (1966) - Serie Tauromaquia Surrealista
Technique: etchings colored with stencils
Dalí goes for inter-textuality and recreates some of Picasso’s works (which are not on display here) with a critical eye. In "Los Molinos" he refers to Picasso’s 1957 "El torero sale en hombros de los aficionados", replacing the torero for a skeleton. He also adds crosses and scythes for a more clear allusion to death.
The stamp "Tauromaquia en el cajón" is based on Picasso’s 1957 aquatint "Toreando a la Verónica". The toreros on the left were replaced by fishes watching the action. In the background we see a drawer as head of a spectator sitting on the steps.
Del álbum de dibujos realizados en Vallauris, by Pablo Picasso (1961)
Technique: aquatint / Measures: 30 x 43 cm
Alceando a un toro, by Pablo Picasso (1957)
Technique: aquatint / Measures: 20 x 30 cm
Corrida, 17 de mayo de 1951, by Pablo Picasso
Technique: etching / Measures: 41 x 54.5 cm
It is well known that Pablo Picasso went to see bullfights since childhood and this is probably why the bull has had such an important role in his artworks. It has been said that he saw the duel between man and beast as an image filled with symbolism, a battle of opposing strengths.
The quick strokes and the stylized figure are easily recognizable. However, in his aquatints, Picasso has something of Goya. Maybe we wanted to pay a tribute, just as Dalí re-interpreted the works of the Master of Modernity through Surrealism.
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