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Throughout his career, Pablo Picasso (Málaga, 1881 – Mougins, 1973) accorded great importance to his graphic work. The fact

that between 1899 and 1972 he applied himself to this artistic genre without interruption, producing approximately 2,200 prints, attests to this. Accurately dated, these engravings make up a personal diary that enables us to retrace his trajectory. Picasso’s extraordinary drawing skills ensured that he achieved the same remarkable and expressive results in engraving as in other artistic disciplines, bringing his prints to the level of his better-known work. A tireless artist, he not only produced cycles of paintings, but also executed series of prints that reveal his favorite themes and preferred techniques. His relentless exploration of different disciplines and his mastery of various media make Picasso an internationally renowned artist and one of the greatest printmakers of all time.

The Museu Fundación Juan March recently opened a new gallery devoted to the graphic work of Picasso. The prints on display there complement the overview of Spanish avant-garde art represented in the permanent collection through the works of Juan Gris, Joan Miró, Julio González, and Salvador Dalí, among other artists. The museum rotates its display of Picasso’s graphic work, giving the visitor the opportunity to admire the main features of his Blue and Rose periods, his Cubist work, and his later classicism. In terms of numbers, the museum’s collection consists mainly of engravings from the Suite Vollard—100 in total. Nonetheless, valuable prints from his early period are also exhibited, as well as those

in the Tauromaquia series and his Minotauromachie (Minotauromachy, 1935), regarded by many specialists as one of the greatest graphic achievements of the twentieth century.

Le repas frugal (The Frugal Repast), Picasso’s fi rst major work as an engraver, dates from 1904. Picasso executed this etching under the tutelage and technical supervision of his friend Ricardo Canals. The artists worked together at a workshop popularly known as the Bateau-Lavoir, located at 13 rue Ravignan in Paris, a place frequented by eminent members of the Parisian avant-garde. In Le repas frugal, Picasso represents subjects such as poverty, misery, and despair—distinctive features of his early Blue Period—with surprising realism.

Vollard purchased this plate in 1913, together with other engravings completed between late 1904 and early 1906, Picasso’s Rose Period, and published them under the title Les saltimbanques (The Acrobats). Several of these prints had been published before, though with little success, by Eugène Delâtre. Central themes of his work during this period include circus scenes, acrobats, actors, and the nomadic existence of artists, with some of whom Picasso himself was acquainted. These were illustrated in keeping with a practice rooted

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in tradition—that of representing characters such as Harlequin, Pierrot, or the buffoon, a fi gure present in medieval Italian tradition and the Commedia dell’arte—though he also depicted contemporary circus acts including those performed at the Circus Medrano of Paris, which he regularly attended. During these early stages of his printmaking career, he primarily worked with etching and drypoint techniques.

Two years after painting Les demoiselles d’Avignon (1907) and embarking on an intellectual and artistic journey called Cubism, Picasso proceeded to explore this style in the fi eld of engraving. Several of his Cubist prints illustrated books such as Saint Matorel and Le siège de Jérusalem (The Siege of Jerusalem) by friend and poet Max Jacob. Picasso worked on the engravings for Saint Matorel, which contributed to the creation of Analytic Cubism, during his stay at Cadaqués in the summer of 1910. In this, his fi rst attempt to assimilate space and abandon conventional perspective, Picasso employed thin, sharp lines to represent objects fragmented in as many planes as possible points of view. Le siège de Jérusalem (1914) features representative examples of Synthetic Cubism, in which he presents a selection and synthesis of the object’s main points of view. Picasso

Mademoiselle Léonie dans une chaise longue, 1910(Mademoiselle Léonie in a Lounge Chair) Etching on Van Gelder paper26.2 x 20.5 cm

C U B I S T P I C A S S O ( 19 0 9 – 1915 )

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L’homme à la guitare, 1915(Man with Guitar)Etching on Japan paper27.8 x 19 cm

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Minotaure caressant une dormeuse, 1933(Minotaur Caressing a Sleeping Woman)Etching on paper38.7 x 50.2 cm

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sometimes incorporated letters into these compositions, as in Nature morte, bouteille (Still Life with Bottle) from 1912. In others, Picasso used papier collé or scraps of newspaper, as in L’homme au chien (Man with Dog), from 1914, in an effort to blur the lines between art and reality.

The collection of engravings by Picasso known as the Suite Vollard is one of the most important series of its kind in the history of art, comparable in quality and diversity only to those of Rembrandt and Goya. This collection of prints owes its name to the art dealer who commissioned the copperplates, Ambroise Vollard.

The series is made up of 100 engravings executed with various tools and methods, including burin, drypoint, etching, and sugar aquatint. Picasso used these techniques in an innovative and surprising manner: by applying acid directly on the surface with a paintbrush he obtained astonishing hues, while his pure and simple lines gave the fi nished prints a sensual naturalism. These expressive achievements are evidence of Picasso’s virtuosity as a master printmaker.

Four themes are clearly identifi ed in Suite Vollard: The Sculptor’s Studio, The Minotaur, Rembrandt, and The Battle of Love. Also included are three portraits of Vollard executed in 1937.

S U I T E V O L L A R D ( 19 3 0 – 19 3 7 )

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Minotaure, une coupe à la main, et jeune femme, 1933(Minotaur, Goblet in Hand, and Young Woman)

Etching on paper38.5 x 50 cm

Scène bacchique au minotaure, 1933(Bacchanal with Minotaur)Etching on paper38.5 x 50.2 cm

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Some of these themes are loosely based on a short story by Honoré de Balzac entitled Le chef-d’œuvre inconnu (The Unknown Masterpiece, 1831), which had a profound impact on the artist. The work tells the story of a painter’s efforts to capture the essence of life through feminine beauty and announces the origins of modern art, a movement Picasso helped forge.

The links between life and art, metaphorically embodied in the artist-model relationship, are clearly present in Balzac’s story. However, Picasso, who had been exploring this subject since 1914 in his paintings, drawings, and other engraving series, did more than merely illustrate it. Using this modern myth, Picasso weaved the events from his own life into his art. Indeed, many episodes of his personal life can be traced in these plates, such as the deterioration of his marriage to Olga Koklova, his troubled relationship with Dora Maar, or his illicit love affair with Marie-Thérèse Walter, who was a minor at the time. In the series, Picasso becomes Marie-Thérèse’s Pygmalion, the mythical Cypriot sculptor who carved a sculpture of such beauty that he fell in love with it and begged the gods to instill it with life and sensuality. Other engravings feature iconographic elements which would later be found in Guernica, a contemporary tragedy that had such an impact on Picasso that he brought it to the world’s attention in his famous painting.

Sculpteur et modèle agenouillé, 1933(Sculptor and Kneeling Model)Etching on paper50.5 x 38.5 cm

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Sculpteur avec coupe et modèle accroupi, 1933(Sculptor with Goblet and Crouching Model)Etching on paper50 x 38.5 cm

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Minotaure et femme derrière un rideau, 1933(Minotaur and Woman behind a Curtain)Etching on paper38.7 x 50.2 cm

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Minotauromachie (Minotauromachy) is one of the fi nest examples of Picasso’s graphic output. A seminal work in his oeuvre, this engraving, executed in 1935, was printed in large format and served as a precedent for Guernica. The artist’s ability to translate personal experience into a universal language is manifest in this print’s many levels of meaning. Taking real life situations and perceived realties as a starting point, though in no way attempting to create accurate depictions of them, Picasso successfully captures the essence of man’s existential dilemma. To this end, he used several formal elements to satisfy his own expressive needs and also borrowed symbols from previous generations, periods, and cultures.

Five groups of motifs revolving around the main theme of the bullfi ght are present in this work. These elements would become part of Picasso’s iconographic program: the minotaur embodying the artist’s alter ego; a central group in which a female bullfi ghter (once again, Marie-Thérèse) lies on a wounded horse; a young girl raising a candle in one hand in the manner of an Annunciation; a bearded man (possibly Picasso) on a ladder, ready to escape from an increasingly complicated situation; and two women peering down at the scene. In one way or another, they are all involved

in this confrontation signifying the eternal battle between good and evil, a composition that suggests the victory of the forces of good.

The Tauromaquia series was executed in 1957. After witnessing a magnifi cent bullfi ght in Arles, Picasso completed this collection of twenty-six etchings in just a few hours. The prints illustrated the new edition of the handbook Tauromaquia o el arte de torear (Tauromachy or the Art of Bullfi ghting) by Pepe-Hillo, fi rst published in 1796 and reedited by Gustavo Gili in 1959. The plates represent, in a nervous and brash manner, different moments of the bullfi ght and are a direct testament of Picasso’s own experience of the spectacle.

Minotauromachie, 1935(Minotauromachy)

Etching and engraving on paper49.5 x 69.7 cm

M I N OTA U R O M A C H I E ( 19 3 5 )

TA U R O M A Q U I A ( 19 5 7 )

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Deux fi gures nues, 1909(Two Nude Figures)Drypoint on industrial paper61 x 44 cm

Nature morte, compotier, 1909(Still Life with Fruit Dish)Drypoint on industrial paper60.5 x 44 cm

Mademoiselle Léonie, 1910Etching on Van Gelder paper26.2 x 20.5 cm

� La table, 1910(The Table)Etching on Van Gelder paper26.2 x 20.5 cm

Mademoiselle Léonie dans une chaise longue, 1910(Mademoiselle Léonie in a Lounge Chair) Etching on Van Gelder paper26.2 x 20.5 cm

Le couvent, 1910(The Convent)Etching on Van Gelder paper26.2 x 20.5 cm

� Nature morte, bouteille, 1912(Still Life with Bottle)Drypoint on industrial paper55.5 x 35 cm

Tête d’homme, 1912(Head of a Man)Etching on industrial paper 33.8 x 46 cm

C U B I S T P I C A S S O ( 19 0 9 – 1915 )

� Femme nue, 1913(Nude Woman)Etching on Van Gelder paper 22 x 17 cm

� Nature morte au crâne, 1914(Still Life with Skull)Etching on Van Gelder paper22 x 15 cm

Femme, 1914(Woman)Etching on Van Gelder paper22 x 15 cm

L’homme au chien, 1914(Man with Dog)Etching on Japan paper46 x 28 cm

L’homme à la guitare, 1915(Man with Guitar)Etching on Japan paper27.8 x 19 cm

S U I T E V O L L A R D

( 19 3 0 – 19 3 7 )

Femme nue couronnée de fl eurs, aux jambes croisées, 1930(Nude Woman with Crossed Legs Crowned with Flowers)Etching on paper50 x 38.5 cm

Femme nue se couronnant de fl eurs, 1930(Nude Woman Crowned with Flowers)Etching on paper50 x 38.5 cm

Au bain, 1930(At the Bath)Etching on paper50 x 38.5 cm

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Femme nue assise devant un rideau, 1931(Nude Woman Seated before a Curtain)Etching on paper50 x 38.5 cm

Homme dévoilant une femme, 1931(Man Unveiling a Woman)Drypoint on paper50 x 38.5 cm

Femme nue devant une statue, 1931(Nude Woman before a Statue)Etching on paper50 x 38.5 cm

Deux sculpteurs devant une statue, 1931(Two Sculptors before a Statue)Etching on paper38.5 x 50 cm

Femme nue à la jambe pliée, 1931(Nude Woman with Bent Leg)Etching on paper50 x 38.5 cm

Le viol, 1931(The Rape)Etching on paper38.5 x 50 cm

Femmes se reposant, 1931(Women in Repose)Etching on paper38.5 x 50 cm

Flûtiste et trois femmes nues, 1932(Flute-player and Three Nude Women)Etching on paper38.5 x 50 cm

Trois acteurs, 1933(Three Actors)Etching on paper50 x 38.5 cm

Sculpteur, modèle et sculpture assise, 1933(Sculptor, Model, and Sculpture of Seated Figure)Drypoint on paper50 x 38.5 cm

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Sculpteur, modèle couché et sculpture, 1933(Sculptor, Reclining Model, and Sculpture)Etching on paper50.5 x 38.4 cm

Sculpteur, modèle et buste sculpté, 1933(Sculptor, Model, and Sculpted Bust)Etching on paper50.3 x 38.5 cm

Sculpteurs, modèles et sculptures, 1933(Sculptors, Models, and Sculptures)Etching on paper38 x 50.3 cm

Deux modèles vêtus, 1933(Two Clothed Models)Etching on paper50 x 38.5 cm

Modèle accoudé sur un tableau, 1933(Model Leaning on a Painting)Etching on paper50.3 x 38 cm

Sculpteur avec coupe et modèle accroupi, 1933(Sculptor with Goblet and Crouching Model)Etching on paper50 x 38.5 cm

Vieux sculpteur au travail, 1933(Old Sculptor at Work)Etching on paper50.3 x 38.3 cm

Sculpteur et modèle admirant une tête sculptée, 1933(Sculptor and Model Admiring a Sculpted Head)Etching on paper50 x 39 cm

Sculpteur, modèle accroupi et tête sculptée, 1933(Sculptor, Crouching Model, and Sculpted Head)Etching on paper50 x 38.5 cm

Jeune sculpteur au travail, 1933(Young Sculptor at Work)Etching on paper50.2 x 38.5 cm

Sculpteur et deux têtes sculptées, 1933(Sculptor and Two Sculpted Heads)Etching on paper50.2 x 38.6 cm

Sculpteur à mi-corps au travail, 1933(Half Figure of a Sculptor at Work)Etching on paper50 x 38.5 cm

Le repos du sculpteur et le modèle au masque, 1933(Sculptor at Rest and Model with Mask)Etching on paper50.3 x 38.5 cm

Le repos du sculpteur devant un nu à la draperie, 1933(Sculptor at Rest before a Draped Nude)Etching on paper50 x 38.5 cm

Deux hommes sculptés, 1933(Two Sculpted Men)Etching on paper50 x 38.5 cm

� Le repos du sculpteur devant un petit torse, 1933(Sculptor at Rest before a Small Torso)Etching on paper38.3 x 50.2 cm

Famille de saltimbanques, 1933(Family of Acrobats)Etching on paper38.3 x 50 cm

Le repos du sculpteur devant le jeune cavalier, 1933(Sculptor at Rest before a Young Horseman)Etching on paper50 x 38.5 cm

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� Le repos du sculpteur devant une bacchanale au taureau, 1933(Sculptor at Rest before a Bacchanal with a Bull) Etching on paper38.5 x 50 cm

Le repos du sculpteur devant des chevaux et un taureau, 1933(Sculptor at Rest before Horses and a Bull) Etching on paper38.5 x 50 cm

Le repos du sculpteur devant un centaure et une femme, 1933(Sculptor at Rest before a Centaur and a Woman)Etching on paper38.5 x 50 cm

Sculpteur et son modèle devant une fenêtre, 1933(The Sculptor and his Model before a Window)Etching on paper38.5 x 50 cm

Le repos du sculpteur et la sculpture surréaliste, 1933(Sculptor at Rest and Surrealist Sculpture)Etching on paper38 x 50 cm

Modèle et grande tête sculptée, 1933(Model and Large Sculpted Head)Etching on paper50.3 x 38.4 cm

Le repos du sculpteur I, 1933(Sculptor at Rest I)Etching on paper38.5 x 50 cm

Le repos du sculpteur II, 1933(Sculptor at Rest II)Etching on paper38.5 x 50 cm

Le repos du sculpteur III, 1933(Sculptor at Rest III)Etching on paper38.5 x 50 cm

Le repos du sculpteur IV, 1933(Sculptor at Rest IV)Etching on paper38.5 x 50 cm

Modèle contemplant un groupe sculpté, 1933(Model Gazing at a Sculpted Group)Etching on paper38.5 x 50 cm

Trois femmes nues près d’une fenêtre, 1933(Three Nude Women near a Window)Etching on paper48.8 x 38.5 cm

Sculpteur et modèle debout, 1933(Sculptor and Standing Model)Etching on paper50 x 38.5 cm

Sculpteur et modèle agenouillé, 1933(Sculptor and Kneeling Model)Etching on paper50.5 x 38.5 cm

Sculpture d’un jeune homme à la coupe, 1933(Sculpture of a Young Man with a Goblet)Etching on paper50 x 38.5 cm

Le viol II, 1933(The Rape II)Etching on paper38.5 x 50 cm

Le viol IV, 1933(The Rape IV)Etching, drypoint and aquatint on paper38.5 x 50.2 cm

Le viol V, 1933(The Rape V)Drypoint on paper38.5 x 50.5 cm

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Le viol sous la fenêtre, 1933(The Rape under the Window)Aquatint, etching and drypoint on paper50 x 38.5 cm

Femme accoudée, sculpture de dos et tête barbue, 1933(Leaning Woman, Sculpture Viewed from behind and Bearded Head)Etching on paper50.2 x 38.4 cm

Modèle nu et sculptures, 1933(Nude Model and Sculptures)Etching on paper50.4 x 38.5 cm

Modèle et grande sculpture de dos, 1933(Model and Large Sculpture Viewed from behind)Etching on paper50.5 x 38.8 cm

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Modèle et sculpture surréaliste, 1933(Model and Surrealist Sculpture)Etching on paper50.2 x 38.4 cm

� Modèle accroupi, sculpture de dos et tête barbue, 1933(Crouching Model, Sculpture Viewed from behind and Bearded Head)Etching on paper50.5 x 38.5 cm

Sculptures et vase de fl eurs, 1933(Sculptures and Vase of Flowers)Etching and aquatint on paper50.3 x 38.5 cm

Minotaure, une coupe à la main, et jeune femme, 1933(Minotaur, Goblet in Hand, and Young Woman)Etching on paper38.5 x 50 cm

Minotaure caressant une femme, 1933(Minotaur Caressing a Woman)Etching on paper38.5 x 50.2 cm

Scène bacchique au minotaure, 1933(Bacchanal with Minotaur)Etching on paper38.5 x 50.2 cm

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Minotaure blessé VI, 1933(Wounded Minotaur VI)Etching on paper38.5 x 50 cm

Minotaure vaincu, 1933(Defeated Minotaur)Etching on paper38.6 x 50 cm

� Minotaure mourant, 1933(Dying Minotaur)Etching on paper38.6 x 50.2 cm

Minotaure et femme derrière un rideau, 1933(Minotaur and Woman behind a Curtain) Etching on paper38.7 x 50.2 cm

Minotaure, buveur et femmes, 1933(Minotaur, Drinker, and Women)Etching on paper38.4 x 50.5 cm

Minotaure caressant une dormeuse, 1933(Minotaur Caressing a Sleeping Woman)Etching on paper38.7 x 50.2 cm

Le viol VII, 1933(The Rape VII)Drypoint and aquatint on paper38.5 x 49.8 cm

Taureau et chevaux dans l’arène, 1933(Bull and Horses in the Arena)Etching on paper38.6 x 50.7 cm

Mort au soleil IV, 1933(Death in the Sun IV)Drypoint and gouache on paper38.7 x 54.4 cm

Le cirque, 1933(The Circus)Drypoint on paper38.5 x 50.2 cm

Minotaure endormi contemplé par une femme, 1933(Woman Contemplating a Sleeping Minotaur)Etching on paper38.2 x 50.3 cm

Les baigneuses surprises, 1933(Startled Bathers)Etching and drypoint on paper38.5 x 50.5 cm

Minotaure attaquant une amazone, 1933(Minotaur Attacking an Amazon)Etching on paper38.5 x 50.5 cm

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Femme assise et femme de dos, 1934(Seated Woman and Woman Viewed from behind)Etching on paper50.2 x 38.5 cm

� Rembrandt et têtes de femmes, 1934(Rembrandt and Women’s Heads)Etching on paper38.4 x 50.4 cm

Rembrandt à la palette, 1934(Rembrandt with Palette)Etching on paper50.2 x 38.2 cm

Deux modèles se regardant, 1934(Two Models Looking at Each Other)Etching on paper50.5 x 38.3 cm

Femme assise au chapeau et femme debout drapée, 1934(Seated Woman with Hat and Draped Standing Woman)Etching on paper50.8 x 31.5 cm

Têtes et fi gures emmêlées, 1934(Heads and Entangled Figures)Etching on paper50.2 x 38.3 cm

Jeune couple accroupi, l’homme avec un tambourin, 1934(Young Couple Crouching, the Man with a Tambourine)Etching on paper50.3 x 38.7 cm

Flûtiste et jeune fi lle au tambourin, 1934(Flute-player and Young Woman with Tambourine)Etching on paper49.3 x 38.7 cm

Rembrandt et femme au voile, 1934(Rembrandt and Woman with a Veil)Etching on paper50.2 x 38.5 cm

Rembrandt et deux femmes, 1934(Rembrandt and Two Women)Etching and engraving on paper50 x 39 cm

Femme nue assise et trois têtes barbues, 1934(Seated Nude Woman and Three Bearded Heads)Etching on paper38.7 x 50.4 cm

Sculpteur et trois danseuses sculptées, 1934(Sculptor and Three Sculpted Dancers)Etching on paper38.2 x 50.2 cm

Femme nue assise, la tête appuyée sur la main, 1934(Seated Nude Woman with Her Head Resting on Her Hand)Burin on paper50 x 38.5 cm

Quatre femmes nues et tête sculptée, 1934(Four Nude Women and a Sculpted Head)Etching and burin on paper38.5 x 50.2 cm

Femme torero II, 1934(Female Bullfi ghter II)Etching on paper50 x 38.5 cm

Femme torero III, 1934(Female Bullfi ghter III)Etching on paper38.5 x 50 cm

Minotaure aveugle guidé par une fi llette I, 1934(Blind Minotaur Led by a Young Girl I)Etching and burin on paper38.4 x 50.5 cm

Minotaure aveugle guidé par une fi llette II, 1934(Blind Minotaur Led by a Young Girl II)Etching on paper38.5 x 50 cm

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Minotaure aveugle guidé par une fi llette III, 1934(Blind Minotaur Led by a Young Girl III)Etching and burin on paper38.4 x 50.6 cm

� Minotaure aveugle guidé par une fi llette dans la nuit, 1934(Blind Minotaur Led by a Young Girl at Night)Aquatint on paper38.2 x 50.1 cm

Garçon et dormeuse à la chandelle, 1934(Boy and Sleeping Woman by Candlelight)Etching on paper38.3 x 50 cm

Personnages masqués et femme oiseau, 1934(Masked Figures and Bird-Woman)Etching on paper38.4 x 50.1 cm

Deux buveurs catalans, 1934(Two Catalan Drinkers)Etching on paper38.2 x 50 cm

Taureau ailé contemplé par quatre enfants, 1934(Winged Bull Watched by Four Children)Etching on paper38.2 x 50 cm

� Faune dévoilant une femme, 1936(Faun Unveiling a Woman)Aquatint on paper38.6 x 49.9 cm

Portrait de Vollard II, ca. 1937 (Portrait of Vollard II)Aquatint on paper44.3 x 33.6 cm

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TA U R O M A Q U I A ( 19 5 7 )

Toros en el campo, 1957(Bulls in the Countryside)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

A los toros, 1957(To the Bulls)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Paseo de cuadrillas, 1957(Parade of the Quadrille)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Suerte llamada de don Tancredo, 1957(The Feat of Don Tancredo)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

El toro sale del toril, 1957(The Bull Leaves the Bullpen)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Citando al toro con la capa, 1957(Summoning the Bull with the Cape)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Toreando a la verónica, 1957(The Pass of the Cape)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Salto con la garrocha, 1957(Leap with the Spear)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

� Portrait de Vollard III, ca. 1937 (Portrait of Vollard III)Aquatint on paper45.2 x 34.1 cm

Portrait de Vollard IV, ca. 1937 (Portrait of Vollard IV)Etching on paper44.3 x 34 cm

M I N OTA U R O M A C H I E ( 19 3 5 )

Minotauromachie, 1935(Minotauromachy)Etching and engraving on paper49.5 x 69.7 cm

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Los cabestros retiran al otro manso, 1957(Oxen Taking Away a Docile Bull)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Suerte de varas, 1957(Stage of the Lances)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Echan perros al toro, 1957(Setting the Dogs on the Bull)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

El picador obligando al toro con su pica, 1957(Picador Goading the Bull)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Citando a banderillas, 1957(Summoning with Banderillas)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Clavando un par de banderillas, 1957(Driving in a Pair of Banderillas)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Citando al toro a banderillas sentado en una silla, 1957(Seated Bullfi ghter Summoning the Bull with Banderillas) Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

El matador brinda la muerte del toro, 1957(Matador Pledging the Death of the Bull)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

Suerte de muleta, 1957(Stage of the Muleta)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm

La cogida, 1957(The Goring)Aquatint on pearlescent Molí Vell Guarro paper35 x 49 cm