The Bulls of Bordeaux

Goya learnt the technique of lithography in Madrid in 1819, in José María Cardano's workshop. During his stay in Bordeaux (1824–28), in the last few years of his life at almost 80 years of age, he continued honing the technique, perfecting it to the point of producing real masterpieces.

The Bulls of Bordeaux series shown here is a prime example of his expertise. Created in Cyprien Gaulon's workshop in Bordeaux, production was limited to 100 copies, of which hardly any plates remain, making the Huesca lithographs single works of art.

Lithography is a method of chemical printing based on the immiscibility of water and oil, which uses a porous base, usually limestone, which can retain both substances.

This technique allows us to appreciate the mastery and subtlety of the artist's craftsmanship up close. Goya would place the lithographic stone on his easel as if it were a canvas, zooming in and out to see the effects.

He would cover the surface in gray ink and would work the light areas with a scraper. He used an oil-based pencil to reinforce shadows or give a sense of movement to the figures.

The lithography "El Famoso Americano Mariano Ceballos" (The Famous American Mariano Ceballos) depicts the Mexican bullfighter nicknamed The Indian, famous for his success and courage when face-to-face with the animal.

The bullfighter appears in the center, riding a black bull, ready to impale another. He raises his head, shouting and with the harpoon in his right hand, pounces on the bull with a stunned expression.

In the background, the fans take in the scene en masse, in a grand display of gestures, positions, atmosphere, and movement.

The scene allows us to appreciate the masterful scraper work used to bring out the white areas, enabling him to emphasize the bull's sense of movement.

The next lithograph, "A Picador Caught by a Bull", known as "Bravo Toro" ("Brave Bull" in Spanish) approaches the theme of death in the bullring. The main scene of the impaled picador is shifted to the bottom right-hand corner, balancing out the composition with the weight in the opposite corner.

The deathly scene occupies the foreground, with the horse lying on the ground. The picador and his pike lie abandoned on the floor.

A picador wounds the beast in its hind. Meanwhile a third person appears nearby attempting to climb onto the horse. The expressions and the portrayal of each of the people and their reactions are striking.

The background shows some of the audience behind a barrier and a group of people huddled behind an injured picador in the arena.

Goya's skill is evident in his depiction of movement and of the crowd as a single mass with no detail. The vigorous strokes, shadows, and highlights indicate clearly that a scraper has been used.

The third lithograph, "Spanish Entertainment" (Diversión de España) reflects the chaos of the spectacle. Four bulls occupy the center of the bright ring, one at rest and the other three raging.

In the foreground to the left, a bull responds to an amateur holding a rag, while others gather round in a circle to watch, for entertainment.

In this picture Goya depicts the arrogance of the common people and their grotesque faces that reflect a mixture of emotion, courage, and unconsciousness. A defiant, excited crowd, in full flow, form a circle around the bulls who are intimidated by the masses of people.

The last lithograph, "Plaza Partida" (Bulls in a Divided Ring), shows the unusual bullring layout used in the 19th century. The bullring is divided into semicircles by a fence, allowing two bullfights to take place at the same time.

On occasion, bullrings were partitioned in this way because bullfights would go on for some time. On the right-hand side of the arena a bullfighter ends the fight and goes in for the kill in a risky maneuver.

On the left side, a banderillero harpoon is just about to be impaled into the bull in the foreground. Meanwhile, the background shows a horse, victim of the spectacle, and a picador ready to mount the saddle.

Again, Goya's expertise in his depiction of the crowd is evident, as well as his skill at using a contrast of light and shadow.