Andalusisk smugler (El embozado / El torero anciano) 1826 - 1828

Editor: Here we have Goya's "Andalusisk smugler" or "Andalusian Smuggler," also known as "El embozado" or "El torero anciano," made between 1826 and 1828, using etching and engraving techniques. It's an intense portrait; what draws your eye in this piece? Curator: The stark materiality of the printmaking process is really striking here. The roughness of the etched lines, the visible wear on the plate – they speak to the labor involved and the inherent limitations of the medium. Notice how Goya doesn't try to hide these imperfections; they become part of the aesthetic. How do you think this affects our understanding of the subject? Editor: I see what you mean! It definitely feels less polished, more raw, almost like a snapshot. Does the title give clues on how it relates to the means of production? Curator: Absolutely. Think about who would have access to printmaking. It democratized image-making to some extent, yet the skills and materials still represent a specific kind of access and, therefore, a power structure. Who did the prints reach, and how were these images consumed in comparison to a unique painting, for example? This image is called Andalusian Smuggler or old bullfighter… Is he really a hero or is this just another image of working class being? Editor: So, Goya's choice of printmaking not only shaped the visual qualities of the work, but also its circulation and social impact. The bullfighter persona feels almost secondary to the sheer physicality of the image production. Curator: Precisely. We see here how the act of making art is deeply intertwined with the economic and social realities of its time, it questions assumptions about who gets represented and how. Editor: This has given me a lot to think about - seeing the art and the physical effort hand-in-hand has truly expanded my appreciation of Goya! Curator: Indeed. It's a reminder that art isn't just about the final image, but also about the process, labor, and the systems that enable its creation and consumption.