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This lithograph conveys a violence so raw and instinctive as to be repulsive. Wild animals in combat were a favorite theme of Romantic artists, who sought to venture well beyond the realm of reason and exercise emotions that could tap into the innermost reaches of the human soul, achieving a state of transcendence. One of the qualities of lithography that appealed to the French Romantics was its ability to communicate both the artist’s unique vision and the dramatic movement within the composition. Here Delacroix barely sketched in the setting, using bold strokes to suggest a harsh, rocky environment, and instead focused our attention on the action in the center, a swirling mass of horseflesh writhing in the throes of death. This is one of only seven known impressions of the first state of the print. 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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. 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