20 cm x 30 cm
Museu Picasso Barcelona
© Sucesión Picasso, VEGAP, Madrid, 2023
Tauromaquia, the world of bullfighting, is a theme that captivated Pablo Picasso throughout his artistic career. From an early age, Picasso accompanied his father to the bullfights in the Malaga bullring. This awakened a fascination for the bullfighting world, which was reflected in his early works, such as the piece entitled El picador amarillo (Málaga, 1889-1890). This early influence continued throughout his career, becoming a recurring theme in his work.
Picasso experienced bullfighting from different perspectives. On the one hand, he represented it as an aesthetic pleasure, showing the elegance of bullfighters, horses and bulls. On the other hand, he was also able to depict bullfighting as a primordial confrontation, a life and death struggle that transcends the physical. These representations become a metaphor for human struggles, passions, courage and tragedy. Picasso identified himself with the bull, seeing in it a reflection of his own creative struggle where every day he faced the blank canvas. So much so that, in the thirties, he ended up developing a series of pieces related to the myth of the Minotaur from Ovid's Metamorphoses. This mythological character deeply touched Picasso, in whom he saw himself reflected.
In addition to his artistic production, Picasso was also involved in the illustration of books related to bullfighting. Among them are Carmen des Carmen by Prosper Mérimée, A los toros con Picasso with introduction by Jaume Sabartés and Carnet de la tauromaquia with texts by José Delgado.
After his last trip in 1934 the artist did not return to Spain. The bullfights in the south of France became a link that reminded him of his native country. They represented for him a connection to his youth, his childhood and his Spanish identity. During these years, Picasso developed a special friendship with Eugenio Arias, a former Republican combatant living in Vallauris, and together they attended numerous bullfights and shared common interests, such as literature, flamenco and the memory of Spain.
Sources:
Martínez Novillo, A. (1994) ‘Picasso. Toros y toreros’, Revista de Estudios Taurinos, N. 1, pp. 219–230. Disponible en: https://core.ac.uk/download/pdf/161813964.pdf
Museo Casa Natal: https://museocasanatalpicasso.malaga.eu/museo-casa-natal/
Museo Picasso Málaga: https://www.museopicassomalaga.org/exposiciones/picasso-toros
Museu Picasso Barcelona: https://www.blogmuseupicassobcn.org/2013/06/picasso-y-la-tauromaquia/?lang=es