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Pedro Romero Matando Á Toro Parado Pedro Romero matando á toro parado Pagina 1 de 6 - G02440 Número de catálogo: Cobre, recubrimiento electrolítico de cromo, 251 x 359 mm, G02440 1318.40g Título: Calcografía Nacional, Madrid, 3405 Pedro Romero matando á toro parado OTROS EJEMPLARES EN EL MUSEO DEL PRADO Fecha: 1814-1816 5ª ed., G01168 Serie: Inscripciones: Tauromaquia [estampa], 30 30 Edición: Comentarios: 1ª ed., Madrid, 1816 TEXTOS DE ÉPOCA"Juan Romero, que hoy está en Madrid con su hijo Pedro Romero, el cual, con Joaquín Rodríguez, ha Técnica: puesto en tal perfeccion este arte, que la imaginacion no percibe Aguafuerte, aguatinta, punta seca y buril que sea ya capaz de adelantamiento. Algunos años ha, con tal que un hombre matase a un toro, no se reparaba en que fuese Soporte: de cuatro á seis estocadas, ni en que estas fuesen altas ó bajas, ni Papel verjurado blanco en que le despaldillase ó te degollase, etc, pues aun á los marrajos ó cimarrones los encojaban con la media luna, cuya Medidas: memoria ni aun existe. Pero hoy ha llegado a tanto la delicadeza, 245 x 354 mm [huella] / 299 x 409 mm [papel] que parece que se va a hacer una sangría a una dama y no a matar de una estocada una fiera tan espantosa. Y aunque Procedencia: algunos reclaman contra esta función llamandola barbaridad, lo Colección Émile Galichon, París; venta Clément, París, cieto es que los facultativos diestros la tienen por ganancia y 23/26-2-1864; Helmut H. Rumbler, Frankfurt; Museo del diversion; y nuestra difunta reina Amalia al verla sentenció: que Prado, 2002 [G02411 a G02443]. no era una barbaridad, como la habian informado, sino diversion donde brilla el valor y la destreza" [Nicolás Fernández de Moratín, Carta Forma ingreso: histórica sobre el origen y progresos de las fiestas de toros en España, Adquisición por el Ministerio de Educación, Cultura y Deporte Madrid: Imprenta de Pantaleón Aznar, 1777, p. c6-c7]. a Kunsthandlung Helmut H. Rumbler; resolución de la Dirección General de Bellas Artes y Bienes Culturales a COMENTARIO SOBRE TAUROMAQUIA, 30 propuesta de la Junta de Calificación, 21-2-2002; adscripción al Museo del Prado; recepción en el Museo, 1-6-2002; adscripción Por primera vez en la serie, Goya atribuye la acción a un torero al Inventario General del Museo, 31-1-2003. concreto, y propone un título con el que Ceán estará conforme y será utilizado en la primera edición de 1816: Pedro Romero Obras relacionadas: matando à toro parado. DIBUJO PREPARATORIOSanguina Pedro Romero (1754-1839) formó junto a Costillares y 200 x 289 mm Pepe-Hillo la terna de toreros más famosa del último cuarto del siglo XVIII. Frente a los anteriores, Romero encarnará la GW 1211 // G II 272 seriedad de la escuela rondeña, alejada de las arriesgadas florituras de los sevillanos, y a años luz de las fantasías y Colección Lefort, París; colección Jay, Frankfurt; Colnaghi, divertimentos de las cuadrillas navarras. Los historiadores de la Londres; colección Hofer, Cambridge (Massachusetts); Museum tauromaquia consideran a Pedro Romero el prototipo del torero of Fine Arts, Boston, Gift of the Frederick J. Kennedy clásico, favorito de los 'entendidos' de su tiempo. Moratín Memorial Foundation, 1973.696 reseñó las cualidades del diestro en su Carta, y especialmente la suerte de matar que le hiciera famoso: "Juan Romero hoy está LÁMINA en Madrid con su hijo Pedro Romero, el cual, con Joaquín Rodríguez, ha puesto en tal perfección este arte, que la Pagina 2 de 6 - G02440 imaginación no percibe que sea ya capaz de adelantamiento. del centro del espacio compositivo hacia el plano de visión, Algunos años ha, con tal que un hombre matase a un toro, no alejándolas de un burladero vacío de espectadores en el tendido se reparaba en que fuese de cuatro a seis estocadas, ni en que de sol, mientras que en el de sombra, algunos testigos, de nuevo éstas fuesen altas o bajas, ni en que le despaldillase o le embozados, asisten al lance. degollase, etc, pues aun a los marrajos o cimarrones los encojaban con la media luna, cuya memoria ni aun existe. Pero [J.M. Matilla], "Estampa 30. Pedro Romero matando a toro hoy ha llegado a tanto la delicadeza, que parece que se va a parado", en Tauromaquia. Francisco de Goya, Barcelona: Planeta, hacer una sangría a una dama y no a matar de una estocada una 2006, p. 326. fiera tan espantosa. Y aunque algunos reclaman contra esta función llamándola barbaridad, lo cierto es que los facultativos Observaciones: diestros la tienen por ganancia y diversión; y nuestra difunta Título manuscrito de Tauromaquia, 30 en el ejemplar de Boston: reina Amalia al verla sentenció: que no era una barbaridad, como la "Pedro Romero Matando à toro parado".Título manuscrito de habían informado, sino diversión donde brilla el valor y la destreza". Tauromaquia, 30 en el ejemplar de Ceán, Londres [estampa 31 del álbum]: "Pedro Romero matando á Toro parado". Goya conoció a Pedro Romero, a quien pudo ver torear en sus numerosas actuaciones en el coso madrileño entre 1775 y 1799, Bibliografía: año de su retirada. Particularmente activo en la década de los E. Piot, "Catalogue raisonné de l'oeuvre gravé de Francisco noventa, el pintor le retrató hacia 1795 en un formidable lienzo, Goya y Lucientes", Cabinet de l'amateur et de l'antiquaire. Revue des muy a la inglesa, hoy conservado en el Kimbell Art Museum tableaux et des estampes anciennes; des objets d'art, d'antiquitè et de (Fort Worth, Texas), en el que se presenta como un maduro Curiosité, I (1842) 359-360. -Estudio formal. Descripción de la triunfador "bravo, tranquilo, autocontrolado y muy guapo", en suerte del "vuela pies" inventada por Joaquín Rodríguez o por palabras de Leandro Fernández de Moratín. La comparación del Pedro Romero. Notas sobre Pedro Romero y Francisco lienzo con la estampa pone de manifiesto la clara intención del Romero (activo en el siglo XVII), a quien considera el primero pintor de hacer un pequeño retrato de Romero de apenas en matar al toro cara a cara con la ayuda de la muleta-.T. centímetro y medio, en el que, a pesar de su tamaño, están Gautier, Voyage en Espagne, París, 1845. Ed. con prólogo de M. trazados con extraordinaria precisión los rasgos esenciales de su Vázquez Montalbán, Barcelona: Taifa, 1985, p. 120. -"Los toros rostro. y caballos, aunque a veces presenten formas un tanto fantásticas, tienen una vida y un movimiento que suelen faltar a La precisión de Goya se manifiesta asimismo en el modo de los que se dedican a pintar animales: las hazañas de Gazul, del representar la suerte de matar a volapié. Algunos historiadores Cid, de Carlos V, de Romero, del estudiante de Falces, de Pepe [Bagüés 1926] censuraron la forma grotesca e irreal en que el Hillo -que murió lastimosamente en la arena-, están trazadas torero sostiene la espada para entrar a matar. Sin embargo, el con una fidelidad totalmente española"-. artista ha cuidado mucho la representación de una suerte cuya invención se atribuye a Costillares, en la que el torero, echando P. Burty, anotaciones en V. Carederera, "François Goya, sa vie, la muleta debajo de la cara del toro, vacía la embestida con un ses dessins et ses eaux-fortes", Gazette des Beaux Arts, XV (1863) pase de pecho con la mano izquierda, a la vez que la derecha 237-249. Traducción española, Valentín Carderera y Solano. clava la espada en el morrillo del animal. Goya presenta al torero Estudios sobre Goya (1835-1885), estudio y edición al cuidado de vencedor, tomando la iniciativa sobre el astado, al que muestra R. Centellas, Zaragoza: Institución Fernando el Católico, 1996. - sometido tras el castigo recibido con anterioridad, sutilmente Prueba de estado con variaciones de las escenas -. aludido por las puntas de las banderillas que cuelgan tras su papada. P. Lefort, "Essai d'un catalogue raisonné de l'oeuvre gravé et litographié de Francisco Goya. Troisième article. La El artista acentúa la tensión dramática de la escena mediante una Tauromachie. Nº. 83 a 115", Gazette des Beaux-Arts, X, 24 (1868) serie de recursos compositivos muy efectistas. Sitúa al toro y al 174. -Título en español y francés. Referencia a la variante citada torero solos en el ruedo, en el límite del sol y la sombra por Burty, en la col. Galichon, que Lefort identifica con marcado en el albero, recortando sus figuras contra el fondo Tauromaquia, C-. limpio e iluminado. El enfrentamiento entre ambos queda expresivamente reflejado por la contraposición de la punta de la Conde la Viñaza, Goya: su tiempo, su vida, sus obras, Madrid: Tip. espada y las astas, como ya hiciera en una estampa anterior en la M.G. Hernández, 1887, p. 415. -Medidas. Descripción formal-. que se enfrentaban toro y picador (Tauromaquia, 27). Y finalmente vuelve a crear inestabilidad desplazando a las figuras P. Lafond, Goya: catalogue de l'oeuvre peint, dessiné, gravé et Pagina 3 de 6 - G02440 lithographié, París: Libraire de l'art ancien et moderne, 1890, p. empuñar reflejan la imperfección en la ejecución de esta suerte, 185. -Título en francés y español. Descripción formal. Medidas-. inventada por Costillares-. C. Araujo Sánchez, Goya, Madrid: La España Moderna, [1896], E. Lafuente Ferrari, "Precisiones sobre La Tauromaquia", Archivo p. 58. -Considerada como una de las mejores estampas de la Español de Arte, 42 (1940) 103, 107. -Estampa de un ejemplar serie. Escena dibujada con inteligencia de la suerte, a diferencia perteneciente a una edición anterior a la 1ª [Biblioteca Nacional, del resto que son escenas extraordinarias-. Madrid, ex-Real Palacio] dado a conocer por M. Velasco [Grabados y litografías de Goya, Madrid: Espasa Calpe, 1928] "a la J.
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