Château Cramirat Collection

Picasso’s passion project, Toros Y Toreros (Spanish for Bulls and Bullfighters), expresses his lifelong fascination with the Spanish national sport after discovering the “corrida” as a child in Málaga. Picasso perceived bullfighting as a ritual and performance, honoring the artist for their brilliance in dancing with death.

Violent killer or poor victim? Theatrics or brutality? Animalistic desires or noble symbolism? From our Château Cramirat collection, we bring you Toros Y Toreros, the book of bullfighting drawings by Pablo Picasso, with Luis Miguel Dominguín and Georges Boudaille.

Picasso’s illustrations depict the carnal entanglement of the bullfighting arena from many angles, capturing banderilleros, picadors, star matadors, and others, but most hauntingly the bull. Picasso portrayed bullfighting themes from as early as 1890, some say his first drawing was of a picador, and he later explored his obsession with the human-beast duality in his artistic reframing of the Minotaur. Toros Y Toreros brings three of Picasso’s sketchbooks, made between 1950 and 1960, inspired by Dominguín in the bullring.

Luis Miguel Dominguín, the celebrated matador, was introduced to Picasso by Jean Cocteau and the two became close friends. Picasso designed a “traje de luces” (Spanish for “suit of lights”) for him, creating his traditional matador clothing in soft viridian and bright gold. He asked Dominguín to write a piece for Toros Y Toreros, describing his art and how bullfighting plays into Spanish sentiment.

Georges Boudaille, renowned art historian and journalist, wrote extensively about Picasso, and in Toros Y Toreros he highlights Picasso’s relationship with the world of bullfighting.

Picasso is known to have said, “If I had not been a painter, I would have been a picador.”

The Château Cramirat Collection is a treasure trove of art and design housed in a 12th-century Templar landmark in the Valley of Mankind, Périgord, France.

Picasso, Pablo (author and illustrator), Dominguín, Luis Miguel (text), and Boudaille, Georges (essay). Toros Y Toreros. Paris: Les Éditions Cercle d’Art, 1961.

Meller-Marcovicz, Digne (photographer). Rudolf Augstein and Martin Heidegger. Todtnauberg, 1966.

Meller-Marcovicz, Digne (photographer). Martin Heidegger in his hut. Todtnauberg, 1968.

Meller-Marcovicz, Digne (photographer). Martin and Elfride Heidegger. Todtnauberg, 1968.

Facebook
Twitter
LinkedIn