Goya (Francisco de Goya y Lucientes)
1816 · Etching, burnished aquatint, drypoint, burin · Drawings and Prints
Plate 26 from "La Tauromaquia": A picador is unhorsed and falls under the bullGoya (Francisco de Goya y Lucientes)
Plate 30 from "La Tauromaquia": Pedro Romero killing the halted bullGoya (Francisco de Goya y Lucientes)
Plate 7 from "La Tauromaquia": Origin of the harpoon or banderillasGoya (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 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 8 from the 'Tauromaquia': A Moor Caught by the Bull in the ring.Goya (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)
Plate 19 of "La Tauromaquia": Another madness of his in the same ringGoya (Francisco de Goya y Lucientes)
Plate 5 from "La Tauromaquia": The spirited Moor Gazul is the first to spear bulls according to the rulesGoya (Francisco de Goya y Lucientes)![Plate 20 from "La Tauromaquia": The agility and audacity of Juanito Apiñani in [the ring] at Madrid](https://d2pvxr3eb77vb4.cloudfront.net/assets/v1/93/931206e30f9012aa90f5e22f9f8b4554740b211fd1a610b782d0c6498b833d0e/graph.webp)
Plate 20 from "La Tauromaquia": The agility and audacity of Juanito Apiñani in [the ring] at MadridGoya (Francisco de Goya y Lucientes)
Plate 6 from "La Tauromaquia": The Moors make a different play in the ring calling the bull with their burnousGoya (Francisco de Goya y Lucientes)
Plate 4 from "La Tauromaquia": They play another with the cape in an enclosureGoya (Francisco de Goya y Lucientes)