La figure mouvante du cheval dans l’histoire de la fête des taureaux du XVIe siècle à nos jours
The aficionados tend to reduce the bullfight to just three elements: the bullfighter, the bull, the spectator. However, the horse has always been an essential part of the festival, even after the substitution of the equestrian bullfight for the more popular corrida “a pie”. It seems paradoxical that...
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Ministère de la Culture et de la Communication
2016-05-01
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| Series: | In Situ |
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| Online Access: | https://journals.openedition.org/insitu/12895 |
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| author | Dominique Fournier |
| author_facet | Dominique Fournier |
| author_sort | Dominique Fournier |
| collection | DOAJ |
| description | The aficionados tend to reduce the bullfight to just three elements: the bullfighter, the bull, the spectator. However, the horse has always been an essential part of the festival, even after the substitution of the equestrian bullfight for the more popular corrida “a pie”. It seems paradoxical that artists like Goya o Picasso have paid more attention to the horse once it ceased to be the festival’s principal esthetic focus and became, instead, a simple tool of the picador. Outside the bullring, we would insist on the importance of the picador and his spear even though, as a general rule, aficionados do not attribute it with esthetic value. |
| format | Article |
| id | doaj-art-ae0fc2478f024c15980a015e0d0de56a |
| institution | OA Journals |
| issn | 1630-7305 |
| language | fra |
| publishDate | 2016-05-01 |
| publisher | Ministère de la Culture et de la Communication |
| record_format | Article |
| series | In Situ |
| spelling | doaj-art-ae0fc2478f024c15980a015e0d0de56a2025-08-20T02:38:02ZfraMinistère de la Culture et de la CommunicationIn Situ1630-73052016-05-012710.4000/insitu.12895La figure mouvante du cheval dans l’histoire de la fête des taureaux du XVIe siècle à nos joursDominique FournierThe aficionados tend to reduce the bullfight to just three elements: the bullfighter, the bull, the spectator. However, the horse has always been an essential part of the festival, even after the substitution of the equestrian bullfight for the more popular corrida “a pie”. It seems paradoxical that artists like Goya o Picasso have paid more attention to the horse once it ceased to be the festival’s principal esthetic focus and became, instead, a simple tool of the picador. Outside the bullring, we would insist on the importance of the picador and his spear even though, as a general rule, aficionados do not attribute it with esthetic value.https://journals.openedition.org/insitu/12895histoiretechniqueEspagnetauromachiearts plastiquesreprésentation de l’art |
| spellingShingle | Dominique Fournier La figure mouvante du cheval dans l’histoire de la fête des taureaux du XVIe siècle à nos jours In Situ histoire technique Espagne tauromachie arts plastiques représentation de l’art |
| title | La figure mouvante du cheval dans l’histoire de la fête des taureaux du XVIe siècle à nos jours |
| title_full | La figure mouvante du cheval dans l’histoire de la fête des taureaux du XVIe siècle à nos jours |
| title_fullStr | La figure mouvante du cheval dans l’histoire de la fête des taureaux du XVIe siècle à nos jours |
| title_full_unstemmed | La figure mouvante du cheval dans l’histoire de la fête des taureaux du XVIe siècle à nos jours |
| title_short | La figure mouvante du cheval dans l’histoire de la fête des taureaux du XVIe siècle à nos jours |
| title_sort | la figure mouvante du cheval dans l histoire de la fete des taureaux du xvie siecle a nos jours |
| topic | histoire technique Espagne tauromachie arts plastiques représentation de l’art |
| url | https://journals.openedition.org/insitu/12895 |
| work_keys_str_mv | AT dominiquefournier lafiguremouvanteduchevaldanslhistoiredelafetedestaureauxduxviesiecleanosjours |