Etching roles: a comparison between Goya's Tauromaquia and Antonio Carnicero's Colección de las principales suertes de una corrida de toros
The prints representing bullfights belonging to the MASP collection stimulate this comparison, which seeks to investigate the way in which the etching system, including its teaching, creation and circulation, at the late 18th century underlies the steps followed in the 19th century in Spain, based o...
| Autores: | , |
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Recursos: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Pós (Universidade Federal de Minas Gerais. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/23924 |
| Acesso em linha: | https://periodicos.ufmg.br/index.php/revistapos/article/view/23924 |
| Access Level: | acceso abierto |
| Palavra-chave: | Francisco Goya Antonio Carnicero Luis Fernández Noseret gravura em metal tauromaquia etching bullfighting calcografía |
| Resumo: | The prints representing bullfights belonging to the MASP collection stimulate this comparison, which seeks to investigate the way in which the etching system, including its teaching, creation and circulation, at the late 18th century underlies the steps followed in the 19th century in Spain, based on their technique, their materiality, specially paper, and the treatment given by the artists to the theme. The artworks in question are the Colección de las principales suertes de una corrida de toros, published by Antonio Carnicero between 1787 and 1790, and engraved by Luis Fernández Noseret five years later, and five prints of Goya's Tauromaquia, whose first edition is announced for sale in Madrilenian newspapers in 1816. |
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