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There are numerous scenes of matadors gored or killed in the ring, but not one with the mighty beast completely subdued or felled. Especially abbreviated in the description of surroundings and flat in the depiction of space, this plate may have been unfinished. 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When Phaeton could not control the horses, they galloped too close to the earth and scorched its surface. In one of Gillray’s finest political allegories, Foreign Secretary George Canning, a passionate follower of former Prime Minster William Pitt, plays the role of Phaeton. His chariot drives the sun of Anti-Jacobinism through hostile constellations personified by members of the political opposition. Napoleon, straddling the Russian Bear, heads towards Western Europe while the ghosts of Pitt and Charles James Fox cower in the lower corners, watching the flames spread across the globe", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Still Water Foundation, 1990", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1990.153.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1990.153.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1990.153.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1990.153.tif", "IsPrimary" : "1", "_SurrogateID" : "5015", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5112, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5112", "Disp_Access_No" : "1991.21", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Vaqueros and Bull", "Alt_Title" : "", "Obj_Title" : "Vaqueros and Bull", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "14 cm x 23.2 cm (5 1/2 in. x 9 1/8 in.)", "Disp_Height" : "14 cm", "Disp_Width" : "23.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Pen and ink", "Support" : "", "Disp_Medium" : "Pen and ink", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.21.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.21.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.21.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.21.tif", "IsPrimary" : "1", "_SurrogateID" : "6223", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5396, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5396", "Disp_Access_No" : "1982.769", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Picador [Bullfight]", "Alt_Title" : "Bullfight", "Obj_Title" : "Picador [Bullfight]", "Series_Title" : "", "Disp_Maker_1" : "Raúl Anguiano", "Sort_Artist" : "Anguiano, Raúl", "Disp_Dimen" : "32.7 cm x 37.5 cm (12 7/8 in. x 14 3/4 in.)", "Disp_Height" : "32.7 cm", "Disp_Width" : "37.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of M.K. Hage, Jr., 1970; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Mexican", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.769.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.769.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.769.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.769.tif", "IsPrimary" : "1", "_SurrogateID" : "6864", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6142, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6142", "Disp_Access_No" : "2000.317", "_AccNumSort1" : "", "Disp_Create_DT" : "1959", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1959", "Disp_Title" : "Le Grand toro", "Alt_Title" : "", "Obj_Title" : "Le Grand toro", "Series_Title" : "", "Disp_Maker_1" : "Palacios Vaquero-Turcios", "Sort_Artist" : "Vaquero-Turcios, Palacios", "Disp_Dimen" : "56.8 cm x 76 cm (22 3/8 in. x 29 15/16 in.)", "Disp_Height" : "56.8 cm", "Disp_Width" : "76 cm", "Dimen_Extent" : "Sheet", "Medium" : "Color lithograph", "Support" : "", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Isidore Simkowitz in memory of Amy Cecelia Simkowitz-Rogers, 2000", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Spanish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 6713, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6713", "Disp_Access_No" : "G1970.7.14", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Farol de rodillas", "Alt_Title" : "", "Obj_Title" : "Farol de rodillas", "Series_Title" : "", "Disp_Maker_1" : "Leopoldo González", "Sort_Artist" : "González, Leopoldo", "Disp_Dimen" : "22.85 cm x 30.3 cm (9 in. x 11 15/16 in.)", "Disp_Height" : "22.85 cm", "Disp_Width" : "30.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Linoleum block print", "Support" : "", "Disp_Medium" : "Linoleum block print", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Amy Freeman Lee, 1970", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Brazilian", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1970.7.14.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1970.7.14.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1970.7.14.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1970.7.14.tif", "IsPrimary" : "1", "_SurrogateID" : "6929", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7699, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7699", "Disp_Access_No" : "1983.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1982", "_Disp_Start_Dat" : "1982", "_Disp_End_Date" : "1982", "Disp_Title" : "Bevo with Birds", "Alt_Title" : "", "Obj_Title" : "Bevo with Birds", "Series_Title" : "", "Disp_Maker_1" : "Tom Palmore", "Sort_Artist" : "Palmore, Tom", "Disp_Dimen" : "68.25 cm x 88.6 cm (26 7/8 in. x 34 7/8 in.)", "Disp_Height" : "68.25 cm", "Disp_Width" : "88.6 cm", "Dimen_Extent" : "Image", "Medium" : "Color lithograph and screenprint with colored pencil and airbrush", "Support" : "", "Disp_Medium" : "Color lithograph and screenprint with colored pencil and airbrush", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1983", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.8.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.8.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.8.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.8.tif", "IsPrimary" : "1", "_SurrogateID" : "3310", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8610, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8610", "Disp_Access_No" : "2001.76.7/12", "_AccNumSort1" : "", "Disp_Create_DT" : "1763-1764", "_Disp_Start_Dat" : "1763", "_Disp_End_Date" : "1764", "Disp_Title" : "Seated Shepherd with an Adult and Young Bull, Plate 7, from The Twelve Etchings Dedicated to Lord Exeter", "Alt_Title" : "", "Obj_Title" : "Seated Shepherd with an Adult and Young Bull, Plate 7, from The Twelve Etchings Dedicated to Lord Exeter", "Series_Title" : "", "Disp_Maker_1" : "Francesco Londonio", "Sort_Artist" : "Londonio, Francesco", "Disp_Dimen" : "32.7 cm x 47.7 cm (12 7/8 in. x 18 3/4 in.)", "Disp_Height" : "32.7 cm", "Disp_Width" : "47.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Christie's Australia, 2001", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.76.7-12.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.76.7-12.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.76.7-12.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.76.7-12.tif", "IsPrimary" : "1", "_SurrogateID" : "4579", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8704, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8704", "Disp_Access_No" : "1992.257", "_AccNumSort1" : "", "Disp_Create_DT" : "1815-1816 (p. 1855)", "_Disp_Start_Dat" : "1815", "_Disp_End_Date" : "1816", "Disp_Title" : "El Cid Campeador lanceando otro toro [The Cid Campeador Spearing another Bull], plate 11 from La Tauromaquia", "Alt_Title" : "", "Obj_Title" : "El Cid Campeador lanceando otro toro [The Cid Campeador Spearing another Bull], plate 11 from La Tauromaquia", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "30.8 cm x 41.4 cm (12 1/8 in. x 16 5/16 in.)", "Disp_Height" : "30.8 cm", "Disp_Width" : "41.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching, burnished aquatint and burin", "Support" : "", "Disp_Medium" : "Etching, burnished aquatint and burin", "Info_Page_Comm" : "In 1816, Goya announced the publication of “thirty-three prints that represent different maneuvers and positions in the art of contesting with bulls.” La Tauromaquia––The Bullfight––presents some of the great figures and moments of Spain’s national pastime. Goya’s choice of subject was guided by the poet Don Nicoás Fernandez de Moratín’s brief history of bullfighting, published in Madrid in 1777, and by a manual attributed to the most famous matador of the time, Pepe Illo, published in Cádiz in 1796. While the intention and the imagery of the series are the most conventional of Goya’s print series, the Tauromaquia nevertheless involves a radical and fairly subversive critique. In these works Goya celebrates the power and nobility of the bull rather than the people portrayed, anticipating the sensibility of French Romantics like Géricault and Delacroix. Similarly, the amorphous space and flat patterning of his compositions are personal and unexpected, predicting elements in the style of critical early modernists, notably Manet. Moratín’s text includes the legendary soldier Rodrigo Diaz de Vivar. Diaz served the Moorish king of Zargoza in the eleventh century, becoming the archetypal Castillian warrior and the national hero known as El Cid Campeador. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The 1992 Friends of the Archer M. Huntington Art Gallery Purchase", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Spanish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1992.257.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1992.257.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1992.257.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1992.257.tif", "IsPrimary" : "1", "_SurrogateID" : "4914", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11358, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11358", "Disp_Access_No" : "2002.1429", "_AccNumSort1" : "", "Disp_Create_DT" : "1815-1816 (p. 1816)", "_Disp_Start_Dat" : "1815", "_Disp_End_Date" : "1816", "Disp_Title" : "Dos grupos de picadores arrollados de seguida por un solo toro [Two Teams of Picadors Thrown One After the Other by a Single Bull], plate 32 from La Tauromaquia", "Alt_Title" : "", "Obj_Title" : "Dos grupos de picadores arrollados de seguida por un solo toro [Two Teams of Picadors Thrown One After the Other by a Single Bull], plate 32 from La Tauromaquia", "Series_Title" : "La Tauromaquia", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "24.9 cm x 36 cm (9 13/16 in. x 14 3/16 in.)", "Disp_Height" : "24.9 cm", "Disp_Width" : "36 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching, burnished aquatint, drypoint and burin", "Support" : "", "Disp_Medium" : "Etching, burnished aquatint, drypoint and burin", "Info_Page_Comm" : "In 1816, Goya announced the publication of “thirty-three prints that represent different maneuvers and positions in the art of contesting with bulls.” La Tauromaquia––The Bullfight––presents some of the great figures and moments of Spain’s national pastime. Goya’s choice of subject was guided by the poet Don Nicoás Fernandez de Moratín’s brief history of bullfighting, published in Madrid in 1777, and by a manual attributed to the most famous matador of the time, Pepe Illo, published in Cádiz in 1796. While the intention and the imagery of the series are the most conventional of Goya’s print series, the Tauromaquia nevertheless involves a radical and fairly subversive critique. In these works Goya celebrates the power and nobility of the bull rather than the people portrayed, anticipating the sensibility of French Romantics like Géricault and Delacroix. Similarly, the amorphous space and flat patterning of his compositions are personal and unexpected, predicting elements in the style of critical early modernists, notably Manet. A bull has killed one horse and upends another as picadors struggle to subdue him. This scene is the most panoramic and dynamic of the Tauromaquia. It is also the closest in spirit to the work of French Romantic artists like Géricault and Delacroix, and their celebration of the power of nature. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Spanish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1429.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1429.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1429.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1429.tif", "IsPrimary" : "1", "_SurrogateID" : "1786", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11368, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11368", "Disp_Access_No" : "1992.239", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1824-1826 (p. 1859)", "_Disp_Start_Dat" : "1824", "_Disp_End_Date" : "1826", "Disp_Title" : "El Embozado [The Cloaked Man] or El Torero anciano [The Old Bullfighter]", "Alt_Title" : "El Embozado", "Obj_Title" : "El Embozado [The Cloaked Man] or El Torero anciano [The Old Bullfighter]", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "25.2 cm x 18.9 cm (9 15/16 in. x 7 7/16 in.)", "Disp_Height" : "25.2 cm", "Disp_Width" : "18.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching with posthumous drypoint additions ", "Support" : "", "Disp_Medium" : "Etching with posthumous drypoint additions ", "Info_Page_Comm" : "Goya began working on his last series of etchings around 1815. When he departed for Bordeaux in 1824, he left twenty-two plates with his son Javier. Eighteen of the plates were published for the first time in Paris in 1864 under the title of Los Proverbios—The Proverbs. The other four plates, which had been separated around 1844, were re-discovered in 1877 and published in the French journal L’Art. Since the word “disparate,” translatable as folly, appears in the captions that Goya himself inscribed on a group of working proofs, the series is alternately called Los Disparates. Their imagery is the most complex and their meaning the most illusive of Goya’s series. The broad themes are still those of the Caprichos, but reason seems to have been completely overwhelmed and the prints are full of nightmarish visions. This is one of seven etchings created by Goya during his last four years in exile in Bordeaux. The plates recall the format and types of the Caprichos, but with the vague settings and mysterious meanings of the Proverbios. (The bull in the background appears added by a later hand.) It may be that Goya conceived them as part of a new series of caprichos, which he then abandoned in favor of lithography. There exist just one contemporary proof and a handful of impressions from posthumous printings. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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Behind each of them is a young retainer on horseback. Hoplite shields often bore emblems like the bull’s head on the shield of the warrior on the right.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund and the James R. 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"35.1 cm", "Dimen_Extent" : "sheet", "Medium" : "Black and red chalks on antique laid paper", "Support" : "", "Disp_Medium" : "Black and red chalks on antique laid paper", "Info_Page_Comm" : "After a fresco in the Villa Farnesina by Baldassare Peruzzi, Federico Zuccaro was following an age old practice of learning how to draw: copying. 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