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237:. Hughes, writing on how Goya anticipates a number of the later ideas of European art, remarked in 2004 of the "naked power with which Goya has played off void against solid, black against light, empty space against full." The picture rewards detailed examination in that much of the subtleties are not at first obvious. For example, the late mayor's shoe can be seen in the distance protruding from the bull's neck, making the man all the more pathetic a figure against the force and strength of the animal. Another is the small black triangle of the bull's right horn, protruding from the mayor's back, evidence that he is not merely injured but is, in fact, mortally wounded or completely dead (the figure's other characteristics make clear that the body is quite lifeless).
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Three of the etching's quarters are completely still; the activity is contained entirely in the right foreground, where a jumbled and blurred mass of survivors are running left and right in panic to escape. None have crossed the handrail; the corpse of one victim lies straddled under the barrier between the two halves of the page.
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The art historian John J. Ciofalo wrote, "the spectacle in the ring has infringed upon the normally protective barrier of the seating area and transformed the terrified spectators themselves into the new spectacle." A central beam serves as a dividing line, a frontier between calm and chaos. "The
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The action takes place entirely on the lower right side of the print, which is separated from the left and upper areas by rail and skyline. These areas are almost completely empty and devoid of detail; the composition rebels against traditional artistic conventions regarding balance and harmony.
189:
viewer's eye is led by this beam across the stadium seats to its ultimate destination: Goya, himself, the architect of this curiously arranged tableau...from there, the viewer's gaze follows Goya's, which is directed rightward, upward to the mayor's impaled corpse."
181:) and injuring a number of other spectators. The lifeless body of the mayor is seen impaled and hanging from the triumphant-looking animal's horns, while the second dead man is shown beneath the barrier in the middle-ground, mourned by a woman in white.
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Dreadful events in the front rows of the ring at Madrid and the death of the mayor of Torrejón, Plate 21 of La
Tauromaquia
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Throughout his life, Goya was a keen follower of bullfighting and boasted that he had taken on a bull in his youth.
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333:"Telling Moments: The first in a series of Francisco de Goya etchings arrives at the UA Museum of Art"
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Unfortunate events in the front seats of the ring of Madrid, and the death of the mayor of Torrejón
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Unfortunate Events in the Front Seats of the Ring of Madrid, and the Death of the Mayor of Torrejón
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Unfortunate Events in the Front Seats of the Ring of Madrid, and the Death of the Mayor of Torrejón
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Unfortunate events in the front seats of the ring of Madrid, and the death of the Mayor of Torrejón
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Goya's use of empty space has been described as an indication of how his work, of all the
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Desgracias
Acaecidas en el Tendido de la Plaza de Madrid, y Muerte del Alcalde de Torrejón
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Desgracias acaecidas en el tendido de la plaza de Madrid, y muerte del alcalde de Torrejón
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The etching details an event from 15 June 1801 when a bull broke through barriers at a
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25.3 cm × 35.7 cm (10.0 in × 14.1 in)
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The
Victorious Hannibal Seeing Italy from the Alps for the First Time
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The
Ministry of Time – Episode 25: Time of the Enlightened
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Consecration of
Aloysius Gonzaga as Patron Saint of Youth
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in Madrid, killing two people (including the mayor of
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is number 21 in a series of 35 etchings making up his
412:. Cambridge: Cambridge University Press. p. 89.
377:. Cambridge: Cambridge University Press. p. 88.
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Museo Goya - Colección
Ibercaja - Museo Camón Aznar
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162:as among the greatest of Goya's graphic output.
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599:Paintings for the alameda of the Dukes of Osuna
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545:The Holy Family with Saints Joachim and Anne
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739:Still Life of a Lamb's Head and Flanks
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1623:Goya or the Hard Way to Enlightenment
1411:The Sleep of Reason Produces Monsters
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1293:Witches' Sabbath (The Great He-Goat)
409:The Self-Portraits of Francisco Goya
374:The Self-Portraits of Francisco Goya
464:. New York: Alfred A. Knopf, 2004.
1041:Charles IV of Spain and His Family
902:The Family of the Infante Don Luis
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1017:Charles IV in his Hunting Clothes
331:Regan, Margaret (26 April 2007).
918:Manuel Osorio Manrique de Zúñiga
638:The Duchess of Alba and la Beata
303:. Retrieved on 25 February 2010.
301:National Galleries of Scotland
215:, is closest to the spirit of
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826:A Procession of Flagellants
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1404:And So Was His Grandfather
1300:A Pilgrimage to San Isidro
119:) is the name given to an
1615:Goya, a Story of Solitude
1565:Museo del Grabado de Goya
1105:Self-Portrait at 69 years
962:The Marquise de la Solana
938:Self-Portrait at an Easel
811:The Burial of the Sardine
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445:Francisco Goya, 1746–1828
406:Ciofalo, John J. (2001).
371:Ciofalo, John J. (2001).
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1764:Prints by Francisco Goya
1363:Two Old Ones Eating Soup
1279:Saturn Devouring His Son
1129:The Milkmaid of Bordeaux
1033:The Countess of Chinchon
771:The Inquisition Tribunal
1328:Man Mocked by Two Women
755:Truth, Time and History
1697:Rosario Weiss Zorrilla
1089:The Duke of Wellington
1009:Ferdinand Guillemardet
779:The Second of May 1808
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1744:19th-century etchings
1528:The Bulls of Bordeaux
1286:Judith and Holofernes
1189:Children in a Chariot
1181:Boys Playing Soldiers
1057:Doña Isabel de Porcel
787:The Third of May 1808
361:Hagen & Hagen, 89
312:Hagen & Hagen, 84
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150:Unfortunate Events...
1631:Goya: A Life in Song
1441:The Disasters of War
1025:Maria Luisa of Parma
693:Allegory of Industry
256:The Disasters of War
1749:Bullfighting in art
1219:The Threshing Floor
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1073:Doña Antonia Zárate
1001:Bernardo de Iriarte
803:A Village Bullfight
55:Plate 21 of Goya's
1555:Casa natal de Goya
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883:Life of the Virgin
708:Majas on a Balcony
630:Assault of Thieves
614:Yard with Lunatics
568:The Rape of Europa
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654:The Bewitched Man
447:. Taschen, 2003.
234:The Great He-Goat
179:Torrejón de Ardoz
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1384:Print series
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1319:
1312:
1305:
1298:
1291:
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1241:
1233:
1225:
1217:
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1205:La novillada
1203:
1195:
1187:
1179:
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1156:
1127:
1119:
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1103:
1097:Josefa Bayeu
1095:
1087:
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1055:
1049:Manuel Godoy
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1039:
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1023:
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854:
839:
824:
809:
801:
793:
785:
777:
769:
763:The Madhouse
761:
753:
750:(after 1808)
747:The Colossus
745:
737:
729:
721:
706:
691:
683:
668:
660:
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644:
636:
628:
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604:
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582:
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461:
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340:. Retrieved
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153:
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139:painter and
115:
114:
113:) (Spanish:
109:
108:
103:
102:
101:
56:
42:
1719:(1942 film)
1702:Goya Awards
1658:(2006 film)
1650:(1999 film)
1642:(1999 film)
1626:(1971 film)
1618:(1971 film)
1610:(1958 film)
1585:Goya Museum
1569:Fuendetodos
1559:Fuendetodos
1500:(1815–1823)
1444:(1810–1820)
1426:(1810–1815)
1321:Men Reading
1314:Two Old Men
1307:La Leocadia
1250:The Wedding
1238:(1786–1787)
1174: 1777
1166:The Parasol
1132:(1825–1827)
1100:(1814–1816)
1084:(1810–1811)
1060:(1804–1805)
1028:(1799–1800)
1012:(1798–1799)
986: 1795
931: 1788
922:The Red Boy
849: 1817
834: 1816
819: 1816
806:(1815–1819)
774:(1812–1819)
766:(1812–1819)
758:(1812–1814)
742:(1808–1812)
734:(1808–1812)
726:(1808–1812)
701: 1805
688:(1800–1805)
657:(1797–1798)
649:(1797–1798)
633:(1793–1794)
625:(1793–1794)
617:(1793–1794)
601:(1786–1787)
595:(1786–1787)
563:(1770–1771)
553: 1769
538: 1763
342:25 February
321:Hughes, 365
283:Hughes, 360
213:Old Masters
207:(1819–1823)
193:Empty space
169:Description
155:Tauromaquia
58:Tauromaquia
1733:Categories
1647:Volavérunt
1599:Depictions
978:Charles IV
267:References
259:engravings
141:printmaker
93:Dimensions
1531:(1824–25)
1475:(1815–16)
1396:(1797–98)
1252:(1791–92)
1230:(1786–87)
1197:The Swing
1184:(1778–79)
1044:(1800–18)
954:La Tirana
946:La Tirana
913:(1787–88)
905:(1783–84)
894:Portraits
856:Bullfight
841:The Forge
587:(1786–87)
522:Paintings
217:Modernism
175:bullfight
80:1815–1816
1716:Goyescas
1708:Goyescas
1579:Zaragoza
1143:cartoons
1141:Tapestry
428:43561897
393:43561897
129:drypoint
125:aquatint
1674:Related
1589:Castres
1548:Museums
1370:The Dog
1356:Asmodea
1349:Atropos
438:Sources
228:The Dog
204:The Dog
201:Goya's
137:Spanish
121:etching
88:Etching
39:Spanish
1683:(wife)
1666:(2017)
1246:(1789)
1227:Summer
1222:(1786)
1214:(1786)
1208:(1780)
1200:(1779)
1192:(1779)
1161:(1775)
1124:(1823)
1116:(1820)
1108:(1815)
1092:(1812)
1076:(1805)
1068:(1805)
1052:(1801)
1036:(1800)
1020:(1799)
1004:(1797)
996:(1797)
973:(1795)
965:(1795)
957:(1794)
949:(1792)
886:(1774)
878:(1772)
867:Murals
859:(1824)
798:(1815)
790:(1814)
782:(1814)
665:(1798)
641:(1795)
609:(1787)
579:(1780)
571:(1772)
468:
451:
426:
416:
391:
381:
85:Medium
67:Artist
61:series
241:Notes
133:burin
1148:list
466:ISBN
462:Goya
449:ISBN
424:OCLC
414:ISBN
389:OCLC
379:ISBN
344:2010
231:and
131:and
107:(or
77:Year
299:".
1735::
1513:c.
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1266:c.
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288:^
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