1900 Courses de taureaux (Corrida)4 Pablo Picasso (1881-1973) Period of creation: 1889-1907

The artwork presents a scene of a bullfight, rendered in pastel on paper. Here we observe a flattened perspective and a deliberate lack of detailed rendering, prioritizing instead a sense of atmosphere and emotional immediacy. The composition is dominated by the arena itself, depicted as a vast expanse of muted green, which serves to isolate and emphasize the figures within it.
Several individuals populate the space: matadors in traditional attire, assistants preparing for the spectacle, and spectators gathered in the background. Their forms are simplified, almost schematic, with an emphasis on their silhouettes and gestures rather than precise anatomical representation. The artist employed a limited palette of ochres, yellows, greens, and blues to create a hazy, dreamlike quality. The colors are not used realistically; instead, they contribute to the overall mood of tension and anticipation.
The placement of figures is significant. A man in dark clothing stands prominently in the foreground, partially obscuring the view of the central action. His posture suggests contemplation or perhaps even apprehension, acting as a visual barrier between the viewer and the unfolding drama. This figure’s positioning introduces an element of subjectivity; he represents not just a spectator but also a potential filter through which we experience the event.
The background is rendered with looser strokes, suggesting a crowd of onlookers blurred by distance and emotion. The indistinctness of these figures reinforces the sense that this is not merely a depiction of a bullfight, but an exploration of its psychological impact on those who witness it.
Subtly embedded within the scene are themes of tradition, spectacle, and mortality. The ritualistic nature of the bullfight – the costumes, the gestures, the prescribed roles – is palpable. Yet, the artist’s stylistic choices undermine any sense of celebratory grandeur, instead suggesting a more complex engagement with this cultural practice. The muted colors and simplified forms evoke a feeling of melancholy or resignation, hinting at the inherent tragedy within the spectacle. Ultimately, the work seems less concerned with documenting the event itself than with conveying its emotional weight and symbolic significance.