An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Before the Bullfightc. 1900
Artist: Joaquin Sorolla y Bastida
Spanish, 1863 - 1923
view under an archway into an open-air arena; group of matadors wearing colorful outfits and black hats; three horses at right, with one man at far right in saddle; at center left, man in red adjusts shoe of matador in lavender and gold with another matador smoking a cigar; man in shadow at left; received unframed
98 3/4 × 146 × 1 1/8 in. (250.8 × 370.8 × 2.9 cm) (canvas)
Oil on canvas
Painting
Spain
19th-20th century
The John R. Van Derlip Trust Fund and gift of funds from Nivin MacMillan
In the sun-drenched town of Valencia, Spain, where the warm breeze carries whispers of tradition and culture, art comes alive through the brush of Joaquín Sorolla. This was not just a canvas for him; it was home—a vibrant tapestry of life and emotion woven together. With each stroke, he painted the essence of his native land, but one particular scene beckoned him to capture a different kind of drama.
On that fateful day, Sorolla chose not to showcase the roaring fight of the bull in the arena, bustling with energy and spectacle. Instead, he drew us into the stillness that grips the air just before the action erupts—a moment laden with tension, a pocket of time where anticipation hangs like the heavy scent of dust and sweat.
As we step into his world, the hush before the storm envelops us. The bullfighters stand, radiating a quiet anxiety, their hearts drumming a nervous rhythm against their chests. Each participant, wrapped in their own thoughts, is acutely aware of what lies ahead—an electrifying dance with danger. Sorolla's brush captures the anxious flicker in their eyes, transforming this quiet tension into an almost palpable force.
Light becomes Sorolla's ally, shimmering across the canvas in a way that elevates each moment—highlighting the worried expressions of the bullfighters while shadowing the impending chaos that will soon emerge. The foreground, drenched in purposeful chiaroscuro, starkly contrasts with the distant cheer of the packed arena, where an eager crowd awaits the violence that is both thrilling and terrifying.
With that clever play of light, he allows us to feel the impending drama in our very bones, as if we too are standing on the precipice of excitement and fear. The cries of the spectators resonate through the depiction, hinting at the rush and adrenaline that will soon unfold, yet we remain anchored in this serene snapshot of anxiety.
In Sorolla's intimate glimpse before the bullfight, we find ourselves not just observers, but participants in the intricate dance of emotion that defines human experience—where the lines between bravery and fear blur in the whispering wind of a Valencian afternoon.
About the artist
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