Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas (The Rabble Hamstring the Bull with Lances, Sickles, Banderillas and Other Arms)

Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas (The Rabble Hamstring the Bull with Lances, Sickles, Banderillas and Other Arms) by Francisco Goya, executed in 1816, is a powerful example of the Spanish master’s late printmaking work. This piece is a first edition impression utilizing the sophisticated combination of etching, burnished aquatint, and drypoint. This complex array of intaglio techniques allowed Goya to achieve deep shadows and dramatic shifts in tone, creating high contrast that emphasizes the scene's chaos. This graphic intensity is characteristic of his production during the period of 1801 to 1825, a turbulent era in European history.

The subject depicted is not a typical bullfight staged in a formal arena but rather a brutal, disorganized confrontation where the canalla, or common rabble, attack the animal. Instead of following the traditional rules of tauromaquia, the figures use crude and unorthodox weapons, including lances and sickle-shaped medias-lunas, to hamstring the bull, bringing it violently to its knees. Goya was long fascinated by the duality of the bullfight, seeing it as both a vibrant national custom and a visceral theater of cruelty. This irregular, almost anarchic scene emphasizes the primitive and dangerous elements of the spectacle, perhaps reflecting broader concerns within Spanish society regarding mob violence and the breakdown of order.

Classified as a portfolio print, this work showcases Goya’s unparalleled skill at narrative etching. While many of his graphic works documented historical events or military conflicts, prints like Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas capture the raw energy of popular customs and the darker side of human engagement. This specific impression is preserved in the collection of the National Gallery of Art, adding significant depth to the museum’s holdings of early 19th century Spanish graphic arts. As with much of Goya’s widely circulated output, high-quality prints of this influential masterwork are frequently available through public domain initiatives, ensuring continued access to his genius.