ARTFEED — Contemporary Art Intelligence

Toreros as Artists of the Ephemeral: Bullfighting as an Art Form

other · 2026-04-24

Bullfighters consider themselves transient artists, aiming for the flawless faena. An article from Artpress dated May 14, 2014, emphasizes their self-image, pointing out the bull's unpredictability and the fleeting essence of inspiration (duende). Toreros such as Luis Miguel Dominguín admire the liberty enjoyed by other artists. Artistic creation is linear; once the initial passes are made, there's no turning back. Figures like Antonio Ordóñez believe their ideal faena remains elusive. The audience's involvement varies, with El Cordobés likening it to a love triangle between the torero, bull, and spectators. The bull's death marks the conclusion of the performance, as Ordóñez remarks, "Nothing produced in the arena can be captured." Moments of beauty evoke profound joy, with toreros accepting risk as vital to their craft.

Key facts

  • Toreros see themselves as artists of the ephemeral, creating at fixed hours and improvising.
  • Luis Miguel Dominguín envied the freedom of painters and composers.
  • Pepe Luis Vázquez stated that duende (inspiration) comes only in its own time.
  • Jaime Ostos and Luis Francisco Esplá envied painters for their ability to revise.
  • Antonio Ordóñez said his masterpiece is always pending.
  • El Cordobés views bullfighting as a love triangle between torero, bull, and public.
  • Antonio Bienvenida emphasized temple because each pass feels like the end of the faena.
  • Pepe Luis Vázquez described a 1951 faena in Valladolid as a transfiguration.

Entities

Artists

  • Luis Miguel Dominguín
  • Pepe Luis Vázquez
  • Curro Romero
  • Jaime Ostos
  • Luis Francisco Esplá
  • Antonio Ordóñez
  • El Cordobés
  • Santiago Martín El Viti
  • Antonio Bienvenida
  • Miguel Abellán
  • Rafael El Gallo

Institutions

  • Artpress

Locations

  • Valladolid
  • Spain

Sources