Bullfight – Death of the Bull

This article will address the topic of Bullfight – Death of the Bull, which has been of great interest and relevance in various contexts throughout history. Since its origins, Bullfight – Death of the Bull has sparked curiosity and debate among experts and fans, generating endless theories, studies and research that seek to fully understand its meaning and impact on society. Over the years, Bullfight – Death of the Bull has played a fundamental role in different fields, from culture and art, to science and technology, leaving an indelible mark on humanity. In this sense, it is essential to analyze and reflect on Bullfight – Death of the Bull, its multiple facets and its influence on the contemporary world.

Bullfight – Death of the Bull (c. 1865) by Édouard Manet

Bullfight – Death of the Bull (French: Corrida : la mort du taureau) is an oil on canvas painting by Édouard Manet, executed c. 1865. It is now in the Art Institute of Chicago.

With Bullfight (now known as The Fall of the Bullfighter, Musée d'Orsay) and The Fall of the Picador (watercolour, private collection), it forms part of a series of works painted after Manet's return from Spain.[1]

Context

Since 1862 Manet had already produced several works on bullfighting – two canvases produced by cutting up Episode in a Bullfight (The Dead Man and The Bullfight), Mademoiselle V. in the Costume of an Espada, and The Matador Saluting.[2][3]

On his return from Spain, he declared himself greatly impressed by the spectacle of the bullring, and in a letter to Zacharie Astruc, on September 17, 1865, he declared that he intended: "to put on canvas the rapid aspect of this assemblage many colorful people, without forgetting the dramatic part, picador and horse knocked down, plowed by the horns of the furious bull, and the army of chulos trying to ward off the animal".[4]

See also

References

  1. ^ Martinez-Novillo 1988, p. 122.
  2. ^ Cachin, Moffett & Wilson Bareau 1983, p. 240.
  3. ^ Martinez-Novillo 1988, p. 121.
  4. ^ Wilson-Bareau, Juliet (1986). "Edouard Vuillard et les princes Bibesco". Revue de l'Art. 74 (1): 37–46. doi:10.3406/rvart.1986.347593. ISSN 0035-1326.

Sources

  • Martinez-Novillo, Alvaro (1988). Le Peintre et la Tauromachie. Paris: Flammarion.
  • Cachin, Françoise; Moffett, Charles S.; Wilson Bareau, Juliet (1983). Manet 1832–1883. Paris: Réunion des Musées nationaux. ISBN 2711802302.