Etching roles
a comparison between Goya's Tauromaquia and Antonio Carnicero's Colección de las principales suertes de una corrida de toros
DOI:
https://doi.org/10.35699/2237-5864.2021.23924Keywords:
Francisco Goya, Antonio Carnicero, Luis Fernández Noseret, etching, bullfightingAbstract
The prints representing bullfights belonging to the MASP collection stimulate this comparison, which seeks to investigate the way in which the etching system, including its teaching, creation and circulation, at the late 18th century underlies the steps followed in the 19th century in Spain, based on their technique, their materiality, specially paper, and the treatment given by the artists to the theme. The artworks in question are the Colección de las principales suertes de una corrida de toros, published by Antonio Carnicero between 1787 and 1790, and engraved by Luis Fernández Noseret five years later, and five prints of Goya's Tauromaquia, whose first edition is announced for sale in Madrilenian newspapers in 1816.
References
ADHÉMAR, Jean. Essai sur les débuts de l'influence de Goya en France au XIXe siècle. In: LEMOISNE, ; ADHÉMAR, Jean. Goya: exposition de l'oeuvre gravé, des peintures, de tapisseries et de cent dix dessins du Musée du Prado. Éditions des Bibliothèques Nationales: Paris, 1935. p. XX-XXXIV.
BARDI, Pietro Maria. Museu de Arte de São Paulo. Rio de Janeiro: FUNARTE, 1981. (Coleção Museus brasileiros, volume 3)
BENNASSAR, Bartolomé. Historia de la tauromaquia: una sociedad del espectáculo. Tradução de Denise Lavezzi Revel-Chion. Valencia: Real Maestranza de Caballería de Ronda: Pre-Textos, 2000.
BERUETE Y MORET, Aureliano de. Goya grabador. Madrid: Blass y Cía., 1918. (Tomo III)
BOZAL, Valeriano. La formación del costumbrismo en la estampa popular española del siglo XVIII. Cuadernos Hispanoamericanos, Madrid, n. 384, p. 499-535, jun. 1982.
CARRETE PARRONDO, Juan. Goya: estampas: grabado y litografía. Barcelona: Electa, 2007.
CARRETE PARRONDO, Juan (ed.). Colección de las principales suertes de una corrida de toros: Dibujada y grabada por Antonio Carnicero. Madrid: Comunidad de Madrid, 1991.
DE LA PEÑA MC TIGUE, Clara. Eighteenth-century practices in the art academies in Spain: the use of paper in prints and drawings. In: EVANS, Helen; MUIR, Kimberley (ed.). Studying 18th-century paintings and works of art on paper. Londres: Archetype Publications, 2015. p. 96-108.
DELGADO, José. Tauromaquia o arte de torear. Prólogo de Alberto Gonzalez Troyano. Madrid: Ediciones Turner, 1994.
DELGADO, José. Tauromaquia o arte de torear á caballo y á pie: obra escrita por el célebre profesor Josef Delgado (vulgo) Hillo. Corregida y aumentada con una noticia histórica sobre el origen de las fiestas de toros en España. Madrid: Imprenta de Vega y Compañía, 1804.
DELTEIL, Loÿs. Le peintre graveur illustré (XIXe et XXe siècles): Francisco Goya. Paris: Chez l'auteur, 1922a. (Tome 14)
DELTEIL, Loÿs. Le peintre graveur illustré (XIXe et XXe siècles): Francisco Goya. Paris: Chez l'auteur, 1922b. (Tome 15)
ESTEVE BOTEY, Francisco. Historia del Grabado. Barcelona: Editorial Labor S. A., 1935. (Colección Labor 358-359 Sección IV Artes Plásticas)
GALLEGO, Antonio Gallego. Historia del grabado en España. 3ª ed. Madrid: Cátedra, 1999.
GLENDINNING, Nigel. A new view of Goya's Tauromaquia. Journal of the Warburg and Courtauld Institutes, London, vol. 24, n. 1/2, p. 120-127, jan.-jun. 1961.
HIND, Arthur Mayger. A history of engraving & etching: from the 15th century to the year 1914. 3ª ed. New York: Dover Publications, 1963.
HOFER, Philip. Great Goya Etchings: The Proverbs, The Tauromaquia and The Bulls of Bordeaux. New York: Dover Publications, 2006.
HYATT MAYOR, Alpheus. Prints and People: a social history of printed pictures. New York: Metropolitan Museum of Art, 1971.
IVINS, William Mills, Jr. How Prints Look: photographs with a commentary. New York: Metropolitan Museum of Art, 1943.
IVINS, William Mills, Jr. Prints and visual communication: Harvard University Press, 1953.
LAFUENTE FERRARI, Enrique. Ilustración y Elaboración en la "Tauromaquia" de Goya. Archivo español de arte, Madrid, 1946.
LAFUENTE FERRARI, Enrique. Las estampas "inéditas" de la Tauromaquia. Archivo español de arte, Madrid, 1941.
LAFUENTE FERRARI, Enrique. Precisiones sobre "La Tauromaquia". Archivo español de arte, Madrid, v. 14, n. 42, p. 93-109, 1940.
LEFORT, Paul. Francisco Goya: étude biographique et critique suivie de l'essai d'un catalogue raisonné de son œuvre gravé et lithographié. Librairie Renouard: Paris, 1877.
LÓPEZ, François. "Pan y Toros". Histoire d'un pamphlet. Essai d'attribution. Bulletin Hispanique. Bordeaux, v. 71, n. 1-2, 1969, p. 255-279.
MARQUES, Luiz et al. Catálogo do Museu de Arte de São Paulo Assis Chateaubriand. São Paulo: MASP, 1998. 4v. (Volume 3: Arte da Península Ibérica, do Centro e do Norte da Europa)
FERNÁNDEZ DE MORATÍN, Nicolás. Carta Histórica sobre el origen y progresos de las fiestas de toros en España. Madrid: Pantaleon Aznar, 1777.
VALLS Y SUBIRÁ, Oriol. La historia del papel en España. Siglos XVII-XIX, Madrid: Empresa Nacional de Celulosas, 1982.
VEGA, Jesusa. Museo del Prado: catálogo de estampas, Museo del Prado, Madrid, 1992.
VELASCO Y AGUIRRE, Miguel. Grabados y Litografías de Goya: Notas histórico-artísticas. Madrid: Espasa-Calpe, 1936.
VINDEL, Pedro. Los Caprichos, La Tauromaquia, Los Desastres de la Guerra, Los Proverbios de Goya. Madrid: Librería de Pedro Vindel, 1928.
YRIARTE, Charles. Goya aquafortiste. L'art. Paris, v. 2, n. 3,1877, p. 3-10.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 Érica Burini, Patrícia Dalcanale Meneses
![Creative Commons License](http://i.creativecommons.org/l/by-nc/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the a Creative Commons Attribution-NonCommercial 4.0 International License that permits sharing of the work with acknowledgement of authorship and initial publication in this journal;
- Authors are permitted to enter into additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (e.g., the Creative Commons Attribution License).
- Authors are permitted and encouraged to publish and distribute their work online (e.g., in institutional repositories or on their home page) at any point before or during the editorial process, as this may generate productive changes as well as increase the impact and citation of the published work.
- It is the responsibility of the authors to obtain written permission to use in their articles materials protected by copyright law. Revista PÓS is not responsible for copyright breaches made by its contributors.