Picador and Matador After Killing the Bull (Collection of the Main Maneuvers in Bullfighting) Antonio Carnicero (1748-1814)

The drawing presents a scene steeped in ritual and violence, centered around what appears to be a bullfighting event. Here we see a group of figures engaged in a formalized spectacle; the central focus is on two men, one mounted on horseback and another standing, both seemingly concluding an action related to a fallen animal.
The composition is structured around a clear hierarchy. The man on horseback dominates the right side of the frame, his elevated position visually asserting authority. He holds what appears to be a lance or spear, suggesting a decisive role in the event’s outcome. His posture is one of controlled power; he sits erect and observant, seemingly detached from the immediate aftermath of the action. The standing figure, positioned closer to the fallen animal, displays a more engaged stance. He leans forward slightly, his gaze directed towards the ground, perhaps assessing the situation or preparing for the next stage of the ritual.
The bull itself lies prostrate in the foreground, its body rendered with considerable detail, emphasizing its size and weight. Around it are several other figures – likely assistants or spectators – who appear to be reacting to the event unfolding before them. Their expressions and gestures convey a range of emotions, from concern to anticipation. The inclusion of these secondary characters contributes to the sense of a larger social context surrounding this violent act.
The artist’s use of line is notable. A meticulous hatching technique creates tonal variation and defines form, lending a certain formality to the scene. This precision contrasts with the inherent brutality of the subject matter, creating an unsettling tension. The limited palette reinforces this effect; the monochromatic rendering strips away any potential for sentimentality or romanticization, presenting the event in stark terms.
Subtly embedded within the depiction is a commentary on power dynamics and social order. The elevated position of the man on horseback, coupled with his detached demeanor, suggests a clear distinction between those who control the spectacle and those who are subject to it – both human and animal. The drawing does not explicitly condemn or celebrate the event; instead, it presents it as a formalized ritual, inviting contemplation about its significance within a broader cultural framework. The scene’s formality, combined with the depiction of violence, hints at a complex relationship between tradition, spectacle, and control.