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

The drawing captures a bullfighting scene within a circular arena. The composition is dominated by a vibrant yellow hue that saturates the background and reflects onto the sandy floor, creating a sense of intense heat and spectacle. A tiered structure, presumably representing the seating area for spectators, lines the upper portion of the frame; its arches are rendered in muted blues and greens, providing a visual contrast to the prevailing warmth.
Here we see several figures engaged in the ritualistic confrontation. Matadors, identifiable by their distinctive attire – primarily red jackets and black trousers – are positioned throughout the arena, seemingly attempting to control or evade the charging bulls. The artist depicted these individuals with simplified forms and expressive gestures, conveying a sense of movement and tension. Other participants, likely assistants or onlookers, are clustered near the foreground, their faces partially obscured by hats, adding to the overall atmosphere of anonymity within the crowd.
The bulls themselves are rendered as dark masses, their powerful musculature suggested through broad strokes. Their placement within the arena appears somewhat chaotic, contributing to a feeling of unpredictable danger. The sandy floor is marked with indistinct traces – perhaps indicating previous movements or struggles – further emphasizing the dynamic nature of the event.
Beyond the immediate depiction of the bullfight, subtexts relating to tradition, masculinity, and the confrontation between human and animal are present. The use of color contributes significantly to this interpretation; the yellow evokes a sense of drama and intensity, while the red highlights the symbolic significance of the matador’s attire. The simplified forms and expressive brushwork suggest an interest in capturing not just the literal event but also its emotional weight and cultural resonance. The drawing seems less concerned with precise realism than with conveying the visceral experience of witnessing such a spectacle.