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

@article{Schulz2008MoorsAT,
  title={Moors and the Bullfight: History and National Identity in Goya's Tauromaquia},
  author={Andrew Schulz},
  journal={The Art Bulletin},
  year={2008},
  volume={90},
  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… 

'The Porcelain of the Moors': The Alhambra Vases in Enlightenment Spain

Abstract In December 1763, Charles III viewed a series of drawings commissioned by the Royal Academy of Fine Arts of San Fernando to document the architecture and decoration of the Alhambra, the

The Unclothed Body in Francisco Goya's The Disasters of War

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Bibliography of urban history 2009

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References

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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.

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

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    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

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