A powerful lithograph from Goya's final series, The Bulls of Bordeaux, capturing the raw energy and chaos of the Spanish bullring.

This lithograph, titled Diversión de España, belongs to the series known as The Bulls of Bordeaux, produced by Francisco Goya during his final years in France. Goya, who had moved to Bordeaux in 1824, utilised the then-novel medium of lithography to capture the chaotic energy of the bullring. Unlike his earlier etched series, the Tauromaquia, these works rely on the soft, tonal qualities of the lithographic crayon to create atmospheric depth and a sense of immediate, visceral action.

The composition is divided between the frenetic activity of the arena floor and the dense, observational crowd surrounding the perimeter. In the centre, several bulls are depicted in various states of motion, some charging and others engaged with the matadors. The figures in the foreground are rendered with a loose, expressive hand, reflecting Goya's late style where form is suggested through shadow and gesture rather than rigid outline. The artist captures the danger inherent in the spectacle, with fallen figures and agitated animals creating a scene of tension.

Technically, the work demonstrates Goya's mastery of the lithographic process. He achieves a range of greys through the application of the crayon, allowing for a chiaroscuro effect that draws the eye across the arena. The crowd is depicted as a collective mass, their faces blurred and indistinct, which contrasts with the sharper, more defined figures of the bullfighters and the bulls themselves. This print offers a glimpse into the artist's preoccupation with Spanish cultural traditions, viewed from the distance of his self-imposed exile. It remains a significant example of his late graphic output, showing his ability to adapt to new technologies while maintaining his distinct, unflinching observational style.