Mariano Ceballos, alias el Indio, mata el toro desde su caballo (Mariano Ceballos, Alias the Indian, Kills the Bull from His Horse) is a powerful print created by Francisco Goya in 1816. This specific impression is rendered using the complex combination of etching and burnished aquatint, a technique Goya masterfully employed to achieve deep tonal contrasts and dramatic atmospheric effects. Cataloged as a first edition impression from a specialized portfolio, the work captures a critical and high-risk maneuver in traditional Spanish bullfighting.
The scene depicts the celebrated mounted bullfighter Mariano Ceballos, known colloquially as 'el Indio,' delivering the final, fatal thrust to the bull. Goya uses the aquatint to suggest the dusty, chaotic arena, contrasting the blurred background with the sharp detailing provided by the etching on the figures themselves. The artist emphasizes the raw physicality and specialized skill required for the suerte de matar (the act of killing the bull), focusing on the precarious balance between man, horse, and beast.
Created during the Spanish period spanning 1801 to 1825, this work is crucial for understanding the popular culture of the Romantic era in Spain. While Goya is known for documenting the darkest aspects of society, this portfolio celebrated bullfighting as both a national spectacle and a historical art form. The print reflects the pervasive public fascination with tauromaquia and the renowned figures who participated in it.
As a foundational work in 19th-century Spanish prints, the composition demonstrates Goya’s late graphic output and his ability to infuse action with psychological depth. While these original impressions are highly valued, the enduring popularity of Goya’s work means that many later prints and reproductions of the artist’s graphic series are widely accessible, often appearing in the public domain. This impression of Mariano Ceballos, alias el Indio, mata el toro desde su caballo is currently housed in the collection of the National Gallery of Art.
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