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Picasso BULLFIGHT bullfighting horse & bull art print

Item number: 180219763501
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BULLFIGHT

Picture it framed!!

Please note: Shown above is a scanned image of the print.  Many prints are too large to be scanned in full, so only a portion of the print can be shown from the scanned image.  For this reason, we will usually include (below), a photograph of the full print so you can see how the print actually appears. 

See the measurements of the image and overall size below to be sure you are bidding on the appropriate size.
Every print I sell is in framing condition - your satisfaction is guaranteed!

P96-0129, picture, image, drawing, bullfighter, bullfighting, horse, bull, matador, Spanish, Spain, Spaniard

BULLFIGHT

Artist.......................... Pablo Ruiz Picasso, 1881-1973
Image Size.................. 9" x 7"
Overall Size................ 9" x 12.5"
Date Drawn/Painted... 1934
Date of this print....... 1996
Condition................. Good! Bid with confidence!!

In 1933 Picasso made a brief trip to Barcelona, and the following year he went back to Spain for a longer stay. Besides Barcelona, on this trip he also visited Madrid and Toledo. Impressions from these trips to Spain survive in a number of works on bullfight themes which he executed at Boisgeloup. In composition and color, the work shown here is perhaps the most striking of the series.

Picasso had been familiar with the bullfight from youth. As a subject, it turns up in his work as early as 1901, in a painting that almost impressionisticaly subordinates the dramatic action to the atmospheric sweep of the arena— half in blue shadow, the other half in glaring sunlight. Subsequently, the bullfight occurs again and again, either as main or subsidiary subject—for instance, in the sketch for the curtain of the ballet Le Tricorne, executed in London, 1919, as well as the 1927 etchings for Balzac’s Le Chef-d’oeuvre inconnu. However, in the work shown here the bullfight is treated quite differently. We see the beginning of a development which will reach its climax three years later in Guernica.

In the history of Picasso’s art this 1934 painting, and the paintings and drawings related to it, mark a first step toward the creation of a wholly personal mythology which he worked out for himself during the 193os. As early as 1930 we find him treating a number of traditional mythological themes, most notably in the illustrations to Ovid’s Metamorphoses. A Crucifixion dating from the same year is further evidence of search for a thematic form capable of embodying dramatic ideas. In 1934, at the same time as such bullfight works as this one, Picasso produced etchings and lithographs for Aristophanes’ Lysistrata.

In the theme of the bullfight, since his trip to Spain and its renewal of childhood memories, Picasso saw a mythological symbol capable of embodying dramatic suffering, grief, and rage—capable of expressing, that is, the very feelings which were boiling in him in these years. Everything in the 1934 painting is focused on the dramatic clash between the black bull and the light- colored horse. The arena and the features of the spectators are only suggested, serve merely to frame the action. The drama of ferocious struggle has become the theme not only of this painting, but of the whole world of Picasso’s imagination. These shrill contrasts of form and color evoke the manner he will employ in reacting to the events of the next few years: they anticipate the rage, the grief, the despair with which he will greet Fascism’s ever more stultifying victory over the human spirit. With Guernica, in 1937, historical events will have caught up with such anticipations as those expressed in this work and its theme.


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Pablo Ruiz Picasso (October 25, 1881 – April 8, 1973) was a Spanish painter and sculptor. His full name was Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Clito Ruiz y Picasso. One of the most recognized figures in 20th century art, he is best known as the co-founder, along with Georges Braque, of cubism. (Data source: Wikipedia)


Vintage 1996 book print on poster type paper. Excellent condition.  This lavish book print is very beautiful with its wide margins, making this very suitable for framing.  A great conversation piece from the collection of vintage plates printed and published by Harry N. Abrams, Inc., NY in 1996. Harry N. Abrams, Inc. presented in this collection, reprints of backlist favorites designed to sell at popular prices.  Published under the Abradale imprint, these prints were produced to the same high standards of quality for which Abrams is celebrated.

Excellent condition. Clean, no stains, no rips, no tears. The print is crisp and sharp. The detail of this print is just beautiful.  This high-quality print is clean, not discolored or faded, and is in excellent condition.  It is printed on nice heavy stock, making it very suitable for framing. The back side of the print  has unrelated text which does not show through to the front because of the poster quality paper it was printed on.  This artistic print is a nice alternative to an original copy of the masterpiece, if you could find one, which you would expect to pay in the hundreds, or perhaps even thousands, depending upon the condition.  This print is ready for mounting and framing and will look wonderful in practically any frame, antique, or otherwise.

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A lot of care is put into making sure your prints arrive undamagedPrints are carefully bagged in plastic sleeves, gently rolled, and mailed in a sturdy cardboard mailing tube. Larger orders and Priority Mail orders are usually shipped flat between sturdy cardboard using creative methods to prevent the USPS from bending or damaging your prints. A large tube mailer may be used for larger prints depending upon what appears to be the safest way to ship. Please note that your prints are guaranteed to arrive safe and sound, so the best possible shipping methods are used.

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The prints I sell are from vintage rare and antique books and portfolios, making them excellent alternatives to expensive art prints, which you can expect to pay much more for. The publishers knew their work would be closely examined and under intensive scrutiny by art critics. It is evident in many book prints that they were made for framing, as the publishers print a line as a guide for cutting the page from the book. When compared to expensive posters, the colors in these prints are noticeably more vivid and sharp. The paper is of heavy stock which means any unrelated text or picture on the reverse will not bleed through once it is framed. In some cases these prints are the only possible way to acquire copies of the rare paintings, engravings, and photographic images you'll find in my eBay store. Add a frame and you can enjoy this print and it's aesthetic appeal without spending a fortune!

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