Goya's Bullfighting Art

A group of powerful etchings depicting bullfighting scenes and social commentary, showcasing Goya's masterful use of light and shadow.

Francisco Goya (1746-1828). "Tauromachie -Pl. 6 -" Los Moros Hacen Otro Capeo in Plaza Con Su Albornoz -H 209 I1 ". Eau -tie and dry point. Museum of Fine Arts of the city of Paris, Petit Palais. Tauromachie - Pl. 6 - The Moors make another capeo in Plaza with its Bathrobe - H 209 I1 Arab, bull, burnous, bypass, dry point, etching, etching, figure, maure, moor, dry point, bull, turban, arab

Se aprovechan /They make us of them; board No. 16 from: Los Desastres de la Guerra The Disasters of War, ed. II, 1892 Goya, Francisco de (1746 1828)

Algerian amateur arts. (IT)

Four Sleeping Pigs. Charles Émile Jacque; French, 1813-1894. Date: 1850. Dimensions: 132 × 142 mm (image); 169 × 275 mm (plate); 303 × 433 mm (sheet). Etching and roulette on China paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Don Quichotte. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Sheet: 12 11/16 × 9 5/8 in. (32.2 × 24.4 cm)Plate: 9 5/16 × 7 1/8 in. (23.7 × 18.1 cm). Etcher: Félix Bracquemond (French, Paris 1833-1914 Sèvres). Date: 1860. Museum: Metropolitan Museum of Art, New York, USA.

La Cuisine dosimétrique. Félicien Victor Joseph Rops (Belgium, Namur, 1833-1898). Belgium, no date. Prints; etchings. Etching

ELHEID, Carlo Innocenzo Carlone, 1696 - 1775 print Fragment of a ceiling painting (possibly a domestic decoration) with the personification of the nobility with a crown in her hand on a cloud. She is surrounded by angels of which two wear a large crown. print maker: Italyafter own design by: Italypublisher: Augsburg paper etching Nobility; 'Nobiltí' (Ripa). angels

UitDaging Van Martincho in from Arena Van Zaragosa, Francisco de Goya, 1811 - 1816 print The Torero (bullfighter) Martincho sitting on the tip of a chair in the Arena, chained with his legs. He holds a hat in the left hand, a sword in the right hand. A bull, left through the opening in the Arena, runs towards the bullfighter. Spain paper etching / drypoint bullfight. bull-fighter, toreador Zaragoza

Faust and Mephistopheles Galloping Through the Night of the Witches' Sabbath 1828 France. Lithograph in black on ivory wove paper . Eugène Delacroix

Four boys playing marbles (recto); Unidentified illustration of boy at easel in interior(verso). Artist: Edwin Austin Abbey, American, 1852-1911, M.A. (HON.) 1897

Illustration for the Decamerone of Boccaccio, Romeyn de Hooghe, 1697 print Illustration for the Decamerone of Boccaccio, History XVII. Boat with two fighting men and a woman (daughter of Beminedab). A third man falls into the water. Netherlands paper etching (scenes from) specific works of literature: Boccaccio, Decamerone

Dwarf with sling, stool and sword; Dwarf with walking stick, Abraham Bosse, after Jacques Callot, 1621 - 1676 print Left: Dwarf, seen on the left, supported on a stool, a hood with two feathers on the head, a sword under the belt, the right arm in a sling. Right: dwarf, seen on the right, with a bought back and a big belly or large head, a hat with twigs on the head, a walking stick in the right hand. Both of these prints, printed on 1 sheet side by side, are part of a series of 21 prints (printed on 11 sheets, so with the exception of the title print always 2 plates per leaf) with grotesque figures; Almost all of those figures are dwarfs, many are bought. Paris paper etching / engraving little people. treatment by immobilization, sling, splint, plaster, etc.. crutches. hacking and thrusting weapons: sword. hunchback. walking-stick, staff

The CoalWaggon. Artist: Théodore Géricault, French, 1791-1824

Plate 44 from 'The Disasters of War' (Los Desastres de la Guerra): 'I saw it.' (Yo lo vi.) 1810 (published 1863) Goya (Francisco de Goya y Lucientes) Spanish. Plate 44 from 'The Disasters of War' (Los Desastres de la Guerra): 'I saw it.' (Yo lo vi.). Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). 1810 (published 1863). Etching, drypoint, burin. Prints

The Expulsion from Paradise, from the LoggiaPaintings. Etcher: Orazio Borgianni, Italian, ca. 1578-1616 After: Raphael, Italian, 1483-1520

Y no hai remedio /There is no help for it; board No. 15 from: Los Desastres de la Guerra The Disasters of War, ed. II, 1892 Goya, Francisco de (1746 1828)

Le triomphe de la Mort: Après le combat , Death, Skeletons, Battlefields, War casualties, Alphonse Legros (1837-1911)

Two begging men on crutches, Gillis van Scheyndel (I), 1630 - 1706 print Two vanders near a fence. The standing man begs with his hat at the sitting man. A few trees and houses in the background. The print is part of a series of 32 prints with genreta scenes. print maker: Netherlandspublisher: Amsterdam paper etching / engraving beggar. person with a physical disability. crutches

Cacoletière à la tour.. Buhot, Félix Hilaire (1847-1898). 1872 - 1878. Avery, Samuel Putnam, 1822-1904. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Girls, Donkeys

The Agility and Audacity of Juanito Apinani in the ring at Madrid, plate 20 from The Art of Bullfighting Made 1814-1816 Spain. From 1785 to 1814, the laws regulating bullfighting in Spain were changed four times by succeeding governments. These regulations varied wildly depending on the governmentís political bent, ranging from outright prohibition to free admission for all. Due to its politicization, bullfighting became a useful metaphor for societal conflict, which Francisco de Goya employed to obliquely comment on the Spanish body politic. For instance, Goya often pictured the spectators as compositionally dividedóeither huddled at the right of the print or crowded to the left as in this workórecalling stark divisions in Spanish society.. Etching and aquatint on ivory laid paper . Francisco José de Goya y Lucientes

Lion Devouring a Horse 1844 France. EugËne Delacroixís black-and-white lithographs are almost coloristic in their dramatic explosions of painterly tone. The artist, violently opposed to the careful linear styles espoused by the Royal Academy (as represented by Jean-August-Dominique Ingres and Jacques-Louis David), not only drew his animal prints directly onto the lithographic stone, but also clawed and scraped into them to create further highlights. This Orientalizing print was made twelve years after a seven-month journey through Spain, Morocco, and Algeria and was likely inspired by a combination of memory, imagination, and examination of the Barbary lions at the zoo in Parisís Jardin des Plantes.. Lithograph in black on ivory China paper laid down on white wove paper . Eugène Delacroix

Hucu passes through the rivers from the network Hold Before why - Jaremcze; Wyczóżó Kowski, Leon (1852-1936); 1910 (1910-00-00-1910-00-00);Wellsz, Leopold (1882-1972)-collection, Wyczółkowski, Leon (1852-1936) Hutsul teka (1910), Purchase (provenance)

Cheval que l'on ferre, 1823, Jean Louis André Théodore Géricault, French, 1791 - 1824, 5 1/2 x 6 1/2 in. (13.97 x 16.51 cm) (image), Lithograph, France, 19th century

Francisco Goya (1746-1828). "Tauromachie - Additional board - Audacity of Martincho in the Argosse arena - H 244 I1". Partial etching and aquatint, second state. Museum of Fine Arts of the City of Paris, Petit Palais. Tauromachie - Additional board - Audacity of Martincho in the Aréne de Zaragosse - H 244 I1 Partial aquatint, arene, audacity, rider, horse, second state, etching, matador, bull

$Two groups of picadors fallen one by one by one bull (dos groupos de picadores arrollados de seguida por un solo Toro); Calcograph \ '\ ia Nacional (Madrid; 1789-), Ríos, Ricardo de Los (1847-1929), Agua, Perez (Fl. Ca 1905), Goya, Francisco de (1746-1828); 1905 (1905-00-00-1905-00-00);Spain, Schlesisches Museum der Bildenden Künste (Wrocław - 1880-1945) - collection, bulls, corrida, horses, death$

Eight Bells 1887 United States. Etching on ivory parchment . Winslow Homer

'Three Women', mid 18th century, (1928). Artist: Giovanni Battista Tiepolo.

Francisco de Goya y Lucientes / 'To the market (Album F, 17)'. 1812 - 1823. Grey-brown wash on dark yellow laid paper. Museum: Museo del Prado, Madrid, España.

Un torero monte sur les epaules dún chulo lanceado’un taureau (A Bullfigher, Mounted on the Shoulder of an Assistant, Spearing a Bull), Plate D from La tauromaquia (third edition). Artist: Francisco Goya, Spanish, 1746-1828

The women give courage, plate 4 of 'The Disasters of War' - 1810/14 - 15,7x20,7 cm - etching, lavis, drypoint, burin and burnisher. Author: FRANCISCO DE GOYA. Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. SPAIN.

Les-Parents-Terribles series: A fine creature--and no corsets. Paul Gavarni; French, 1804-1866. Date: 1852-1853. Dimensions: 202 × 161 mm (image); 360 × 240 mm (sheet). Lithograph in black on cream wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Two Magicians and a Child, from Scherzi. Giambattista Tiepolo; Italian, 1696-1770. Date: 1735-1740. Dimensions: 140 x 187 mm (image/plate); 249 x 280 mm (sheet). Etching on paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

Pietro Faccini's drawing depicts a study of a burial, showing figures, gestures, and coffin or tomb, executed in brown brush.

Lovers on a Bench. Théophile-Alexandre Steinlen; French, born Switzerland, 1859-1923. Date: 1902. Dimensions: 352 × 505 mm (image); 389 × 514 mm (plate); 471 × 618 mm (sheet). Soft ground etching, aquatint and etching in warm black on ivory laid paper. Red ink () rubbed on paper, u.l. margin. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Incident at the arrival of Willem van Oranje in Utrecht, 1577, Reinier Vinkeles (I), After Jacobus Buys, 1783 - 1795 print Incident on the arrival of Willem van Oranje in Utrecht, 1577, 28 August 1577. The carriage in which Willem van Oranje is hit by a salute shot with his wife. Spectators and soldiers excited on the street. Amsterdam paper etching accident with four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach Utrecht

The sloops are launched, 1597. The sloops for the return journey are launched, 13 June 1597. Copies to the original illustrations in the travelogue of the journey of Willem Barendsz and Jacob van Heemskerck in 1596-1597 and the stay on it Island Nova Zembla, No. 22.

He defends himself well, plate 78 from The Disasters of War Made 1815-1820 Spain. Etching, drypoint, burin and burnishing on ivory wove paper with gilt edges . Francisco José de Goya y Lucientes

Misere-et-corde! faut pas chagriner ces petits mondes-la, des animaux comme nous autres:ca se devore entre soi.. Artist: Paul Gavarni, French, 1804-1866

Francisco Goya (1746-1828). "Los disparate - disparate Ridiculo". Museum of Fine Arts of the City of Paris, Petit Palais. The nonsense - ridiculous nonsense ARBRE, BRANCHE, Dormir, ENFANT, RIDICULE, RIDICULOUS, Scenic, Sleep, Tree, branch, child

Joanna d'Arc - pojmanie. Goryńska, Wiktoria (1902-1945), graphic artist

The Letter at Camp 1893 Italy. Etching on cream wove paper . Giovanni Fattori

Francisco de Goya (1746-1828), they flee through the flames (41), 1810-1820

Nieuws Op de Olympus, Venetian Augustine, After Baccio Bandinelli, 1516 print On the Olympus the gods sit together at a table. They are surrounded by clouds. On the right, a figure is approaching, blowing on a trumpet that comes to bring news. Above them Jupiter sits with his arm around a naked woman. paper engraving Olympus. (story of) Jupiter (Zeus). delivering; receiving (~ postal matter)

Image photography: "Life Stanis Aawa Szczepanowski, Dominican monastery in Krakow. A fragment from the scenes - People at the body Stanis "; Krieger, Ignacy (Kraków; Photographic Zak 1860-1926); before 1899 (1880-00-00-1899-00-00);Amalia (1846-1928) - collection, Krieger

Etching and aquatint from 1810 by Goya depicting helpless civilians with no aid, showing suffering, military oversight, and despair in 'The Disasters of War'.

Next to the woman is a child holding on to her skirt, Farmer's wife pushing a wheelbarrow with hay and two children, print maker: Pieter de Josselin de Jong, (mentioned on object), printer: Samuel Lankhout & Co, (mentioned on object), The Hague, 1898, paper, h 544 mm × w 365 mm

Le piocheur , Digging, Alphonse Legros (1837-1911)

Grotesque figure with drailer; Dwarf with grid and sword; Varie Figure Gobbi Di Jacopo Callot; Various grotesque figures; Dwarfs and iced. Left: Groteske figure, seen on the right, with a humpback back, a drailer closed, a hat with two springs on the head. Right: dwarf, seen on the right, with a humpback back, a grid closed as if it is a violin, a cap with two feathers on the head, a sword on his left. These two prints, side by side on 1 blade, are part of a series of 21 prints (pressed on 11 sheets, so M..v. The title print always 2 plates per sheet) with grotesque figures; Virtually all those figures are dwarfs, many have been hatched.

Bound Print, L'Organiste Ambulant (The Itinerant Organist), Singeries ou différentes actions de la vie humaine représentées par des singes (Monkey Antics or Different Actions of Human Life Represented by Monkeys); Designed by Christophe Huet (French, 1700-1759); Etched by Jean-Baptiste-Antoine Guelard (French, 1719-ca. 1755); Published by Charpentier; France; etching on paper; 26 × 31.8 cm (10 1/4 × 12 1/2 in.)

Vignette for the Community (design). Draughtsman: Leo Gestel. Dating: c. 1935. Place: Spain. Measurements: h 130 mm × w 190 mm; h 90 mm × w 110 mm. Museum: Rijksmuseum, Amsterdam.

The Large Sheepcot (horizontal plate) 1859 France. Etching, engraving and drypoint on ivory wove paper . Charles Émile Jacque

Sinister Puppets! (Sinistres pantins!). Dimensions: 30.8 cm x 42.6 cm, 17.8 cm x 23.8 cm, 16.1 cm x 22.2 cm. Museum: Van Gogh Museum, Amsterdam. Author: HENRI GABRIEL IBELS.

The Large Sheepcot (horizontal plate). Charles Émile Jacque; French, 1813-1894. Date: 1859. Dimensions: 299 × 448 mm (image); 387 × 530 mm (plate); 521 × 697 mm (sheet). Etching, engraving and drypoint on ivory wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

The Horrors of War: These Too. Francisco de Goya (Spanish, 1746-1828). Etching;

Les bûcherons (3rd plate) , Woodcutters, Trees, Alphonse Legros (1837-1911)

Unhappy Mother!, plate 50 from The Disasters of War Made 1812-1815 Spain. Etching, burnished aquatint and drypoint on ivory wove paper with gilt edges . Francisco José de Goya y Lucientes

Disparate: Lluvia de Toros, c. 1820, Francisco José de Goya y Lucientes, Spanish, 1746-1828, 9 5/8 × 14 in. (24.45 × 35.56 cm) (plate), Etching and aquatint, France, 19th century, Weve heard of raining cats and dogs, but bulls'! Goya loved to watch bullfights for their festivity and their tragedy. He drew detailed images of their many variations. In this dream-like image, he removed the bulls from the pressures of the ring. Here they float in the air, seemingly as weightless as butterflies.

Alphonse Legros, Vagabonds of Montrouge (Les vagabonds de Montrouge), French, 1837-1911, etching

Goya's Return to his Homeland. Jean Veber; French, 1864-1928. Date: 1899. Dimensions: 314 × 453 mm (image); 419 × 541 mm (sheet). Lithograph from two stones in black (pen and crayon) and beige (tint) on grayish-ivory China paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Serbian Cavalry, Second Episode. Théophile-Alexandre Steinlen; French, born Switzerland, 1859-1923. Date: 1916. Dimensions: 253 × 442 mm (image); 379 × 555 mm (sheet). Lithograph in black with scraping on stone over fawn tint on thick off-white wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Dancers at the Bar. Georges-William Thornley (French, 1857-1935); after Edgar Degas (French, 1834-1917); printed by Atelier Becquet (French, 19th century); published by Boussod, Valadon, & Company (French, 18th-19th century). Date: 1889-1890. Dimensions: 235 × 277 mm (image); 396 × 570 mm (sheet). Lithograph in ochre on paper. Origin: France. Museum: The Chicago Art Institute, USA.

N ° 17. / Messengers are then shipped in all directions and in all countries. (Title registered (letter)) | The beautiful nick. (Title of all)

Child in Wieg, Jozef Israëls, 1834 - 1878 print Interior with child in cradle, behind it a dog sitting on a chair. paper etching dog. cradle, crib

"Caltnadel by Rudolf Grossmann from 1920 depicting soldiers dancing, showing figures, posture, and interaction in a rhythmic composition."

Félix Hilaire Buhot, Les Noctambules (The Night Prowlers), 1876 1877 Les Noctambules (The Night Prowlers)

La charrue (ThePlow). Artist: Alphonse Legros, French, 1837-1911

Wright, Wilhelm von, Wright, Magnus von, work, Bush bag, female, 1828 - 1838, lithography, painted with watercolors, graphics, sheet width 27.9 cm, leaf height 27.3 cm, image width 13.5 cm, image height 11.5 cm, Wilhelm von Wright 1810 - 1887, Swedish-Finnish painter and amateur naturalist.

Francisco de Goya, Y esto tambien (And This Too), Spanish, 1746-1828, published 1863, etching, aquatint or lavis, drypoint, and burin

Bandbox Design. Dated: 1935/1942. Dimensions: overall: 40.6 x 55 cm (16 x 21 5/8 in.). Medium: watercolor, graphite, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Isabella Ruth Doerfler.

Francisco de Goya (1746-1828), caught at Kirears to Kirkegaarden (64), 1810-1820

Hans Burgkmair, known as the old (1473-1531). The triumph of the Emperor Maximilien I: Thirty-sixth board (Dornik-Eger 36, Bartsch 81). Xylography, 1512-1519. Museum of Fine Arts of the City of Paris, Petit Palais. Drawing, Germanic emperor, glory, glorious memory, glorifying, glorific, history, illustration, historical book, memory, narration, drawing, triumph, 16th 16th 16th 16th 16th 16th century, engraving

Lovis Corinth, Götz von Berlichingen (Das Leben des Götz von Berlichingen von ihm Selbst Erzähct), 1920 Götz von Berlichingen (Das Leben des Götz von Berlichingen von ihm Selbst Erzähct)

RiversideParty. Artist: Auguste Lepère, French, 1849-1918

1912. text. 1911 - 1913. General Research Division. Art , Poland

Les Noctambules (The Night Prowlers). Dated: 1876/1877. Dimensions: plate: 8 x 11.9 cm (3 1/8 x 4 11/16 in.) sheet: 9.5 x 12.6 cm (3 3/4 x 4 15/16 in.). Medium: etching and aquatint with scraping and burnishing in black on light blue laid paper. Museum: National Gallery of Art, Washington DC. Author: Félix-Hilaire Buhot.

Lazio Roma Rome Episcopal Complex (S. Giovanni in Laterano, Baptistery, Cathedral, Cloister)4. Hutzel, Max 1960-1990 Exterior views of 5th c. baptistery, restored in the 17th c. Interior views of baptismal urn (16th c.), carved walls, ceiling and wall painting; of mosaics and bronze doors in Cappella del Battista; of altar and mosaics in Cappella di S. Venanzio; of mosaic and statue in Cappella di S. Giovanni Evangelista. Architecture, architectural sculpture, sculpture, sculptural fragments, fresco painting, painting, coffering, tiling, stucco. Views 756-886 are of the cathedral. Medieval: Architecture, architectural sculpture, sculptural fragments, architectural fragments, tombstones, mosaics, sculpture, fresco painting, sculptural relief. Object Notes: Hutzel includes guidebook in German on the site. prints matched to negs General Notes: Views 756 thru 886 are of the Baptistery. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s un

Print, Sea-Side Sketches - A Clam-Bake; Engraved by Redding; After Winslow Homer (American, 1836-1910); Published by Harper's Weekly; USA; wood engraving in black ink on paper; Image: 23.5 × 35.4 cm (9 1/4 × 13 15/16 in.)

My faith your truffles outweigh ... (registered title) | The embossed metempsychosis. (title of all)

William Tell, the Oath at theRutli. Artist: Lovis Corinth, German, 1858-1925

The Large Brewery Made 1890 Sweden. Etching on cream laid paper . Anders Zorn

Abruzzo L'Aquila L'Aquila Museo Nazionale d'Abruzzo82. Hutzel, Max 1960-1990 Tabernacle from S. Maria delle Grotte in Fossa with scenes of the Presentation at the Temple, the Flagellation, the Annunciation, and the Betrayal by Judas. Museo Nazionale housed in Castle: several exterior views (The Archeological Museum is one gallery (Sala IV) of the Museo). Remaining views of museum collection, including paintings, processional crosses, reliquaries, chalices, ceramics, textiles, manuscripts, and a number of eighth century Abruzzan Madonna sculptures. Works from the church Madonna del Soccorso also stored in Museo. Museo Nazionale d'Abruzzo Roman inscriptions, sculpture and relief German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans

Coupling I, from the Suite Vollard. Pablo Picasso (Spanish, 1881-1973); printed by Roger Lacourière (French, 1892-1966); published by Ambroise Vollard (French, 1867-1939). Date: 1933. Dimensions: 197 x 277 mm (image/plate); 340 x 445 mm (sheet). Drypoint with sugar lift etching and aquatint on copper in black on off-white laid paper. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA.

Francisco de Goya y Lucientes / 'Disparate de toritos. Lluvia de toros', 1887, Spanish School, Etching; aquatint on paper, 243 mm x 355 mm, G03070. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

Thomas Handforth, Sails and Sailors, 1907-1948, etching on paper.

Vignette for the community (design), Leo Gestel, c. 1935 drawing Bullfighter with a lifted muleta (red lap), where an entry to his right of him a bull appears frontally. Spain paper. gouache (paint). India ink (ink) Bullfight

Pierre-Georges Jeanniot, Motorized Atrocities, 1915, lithograph on wove paper.

Don Basilio. Pen and ink sketch of the chracter from Beaumarchias play Le Mariage de Figaro. Henri Monnier (1805-1877) French cartoonist.

Ball of the Moulin Rouge. Jacques Gaston Duchamp Villon; French, 1875-1963. Date: 1919. Dimensions: 172 × 200 mm (plate); 321 × 315 mm (sheet). Etching in violet on ivory wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Am Zaun, from the cycle: Hans Baluschek, 6 OriginallitHographien; Baluschek, Hans (1870-1935), Carl P. Chryselius'Scher Verlag (Berlin; Publisher; Fl. Ca 1915-1930); 1920; 1921 (1900-00-00-1950-00-00);

The Horrors of War: Cruel Tale of Woe. Francisco de Goya (Spanish, 1746-1828). Etching and aquatint;

La rue Caulincourt. Théophile-Alexandre Steinlen; French, born Switzerland, 1859-1923. Date: 1896. Dimensions: 251 × 362 mm (image); 278 × 370 mm (sheet). Lithograph in black with scraping on stone on gray chine. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Pepe Illo making the pass of the 'recorte', plate 29 from The Art of Bullfighting. Francisco José de Goya y Lucientes; Spanish, 1746-1828. Date: 1815. Dimensions: 203 x 313 mm (image); 244 x 352 mm (plate); 320 x 443 mm (sheet). Etching, burnished aquatint, drypoint and burin on ivory laid paper. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA.

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