Goya (Francisco de Goya y Lucientes)
1816 · Etching, burnished aquatint, drypoint, burin · Drawings and Prints
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 15 from "La Tauromaquia": The famous Martincho places the banderillas playing the bull with the movement of his bodyGoya (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 18 of "La 'Tauromaquia": The daring of Martincho in the ring at ZaragozaGoya (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 26 from "La Tauromaquia": A picador is unhorsed and falls under the 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 8 from the 'Tauromaquia': A Moor Caught by the Bull in the ring.Goya (Francisco de Goya y Lucientes)
Plate 8 from "La Tauromaquia": A Moor caught by the bull in the ringGoya (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 7 from "La Tauromaquia": Origin of the harpoon or banderillasGoya (Francisco de Goya y Lucientes)
Plate 30 from "La Tauromaquia": Pedro Romero killing the halted bullGoya (Francisco de Goya y Lucientes)