Moors and the Bullfight: History and National Identity in Goya's Tauromaquia

  title={Moors and the Bullfight: History and National Identity in Goya's Tauromaquia},
  author={Andrew Schulz},
  journal={The Art Bulletin},
  pages={195 - 217}
Francisco Goya's representation of the history of the bullfight in the Tauromaquia series (1815–16) provides important insights into national identity formation in early-nineteenth-century Spain. These prints give the Muslims of al-Andalus an unprecedented (and historically unfounded) role in the evolution of this quintessentially Spanish pastime. By equating national belonging with the development of cultural practices that transcend religious difference, the Tauromaquia absorbs the Islamic… 

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WILLAMETTE UNIVERSITY PUBLIC BENEFIT Willamette University of Wisconsin-Madison's research and teaching practices, as well as a directory of current and former faculty and students, can be found here.

The changing image.

  • G. Fine
  • Medicine
    Bulletin of the Tenth District Dental Society of the State of New York
  • 1969

51-52) propose Asensio Julia (1748-1832), a Valencian artist who collaborated with Goya, as the author of these prints

    Truth and Fantasy: The Small Paintings (Madrid: Museo del Prado; London: Royal Academy of Arts; Chicago: Art Institute of Chicago

    • the standard catalogue raisonne, Pierre Gassier and Juliet Wilson list among the cabinet paintings two additional bullfighting images executed on a different type of tin
    • 1971

    Coya's wartime activities were scrutinized in a lengthy investigation, and he was cleared of any wrongdoing on April 8, 1815. For the relevant document, see Canellas

    • Diplomatario

    It is interesting to note that the chained Moorish captive in the foreground is reminiscent of the similar figure in Titian's Allegory of the Battle of Lepanto