Goya (Francisco de Goya y Lucientes)
1816 · Etching, burnished aquatint, drypoint · Drawings and Prints
Plate 11 from "La Tauromaquia": The Cid campeador spearing another bullGoya (Francisco de Goya y Lucientes)
Plate 14 from "La Tauromaquia": The very skillful student of Falces, wrapped in his cape, tricks the bull with the play of his bodyGoya (Francisco de Goya y Lucientes)![Plate 22 from "La Tauromaquia": Manly courage of the celebrated Pajuelera in [the ring] at Zaragoza](https://d2pvxr3eb77vb4.cloudfront.net/assets/v1/74/74ae9a1835c588a0fc1a3099a9e0b85baf1c6e925cf4a55c7b36491585a9b4a2/graph.webp)
Plate 22 from "La Tauromaquia": Manly courage of the celebrated Pajuelera in [the ring] at ZaragozaGoya (Francisco de Goya y Lucientes)
Plate 10 from 'La Tauromaquia': Charles V spearing a bull in the ring at ValladolidGoya (Francisco de Goya y Lucientes)
Plate 26 from "La Tauromaquia": A picador is unhorsed and falls under the bullGoya (Francisco de Goya y Lucientes)
Plate 33 from "La Tauromaquia": The unlucky death of Pepe Illo in the ring at MadridGoya (Francisco de Goya y Lucientes)
Plate 8 from the 'Tauromaquia': A Moor Caught by the Bull in the ring.Goya (Francisco de Goya y Lucientes)
Plate 17 of "La Tauromaquia": The Moors use donkeys as a barrier to defend themselves against the bull whose horns have been tipped with ballsGoya (Francisco de Goya y Lucientes)
Plate 13 of "La Tauromaquia": A Spanish mounted knight in the ring breaking short spears without the help of assistantsGoya (Francisco de Goya y Lucientes)
Plate 7 from "La Tauromaquia": Origin of the harpoon or banderillasGoya (Francisco de Goya y Lucientes)
Plate 19 of "La Tauromaquia": Another madness of his in the same ringGoya (Francisco de Goya y Lucientes)
Plate 12 from "La Tauromaquia": The crowd hamstrings the bull with lances, sickles, banderillas and other armsGoya (Francisco de Goya y Lucientes)