Bernard Buffet

Galerie E. David et M. Garnier, Paris
Private collection (acquired from the above in the 1960s)
Thence by descent to the present owner

The medium is oil on canvas. The surface is in good overall condition. The impasto is very rich and thick, and nearly completely retained with a few small scattered losses. In the thickest impasto, there are a few tiny cracks in some places. The canvas is bumping somewhat in the upper right, just at the edge of his hat. There is paint separation in the blacks in the in the toreador's jacket and in the edges of his hat. There is minor paint separation in the upper portion of the work, in the browns and dark ochres. Under UV: there is no apparent inpainting. The colors are bold and fresh and the work presents very well.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1961, Bernard Buffet was intently exploring the themes sacrifice and the spectator; recurrent themes throughout his oeuvre. That year, his focal project was a series of paintings for his private chapel at his country home, le chateau de l’Arc that focus on the sacrifice and passion of Christ.  These themes are further explored in his publicly exhibited paintings of the Spanish bullfight, or La corrida, specifically, his toreadors, of which the present work, also from 1961, is a prime example. That this Toréro predates the 1967 show on La Corrida at the Galerie Maurice Garnier demonstrates how diligently the artist was working through his subjects over many years and how his private themes as displayed in his chapel were closely aligned with the paintings meant for exhibition and shown to the world.

The toreador presented here is at once the virile showman of the bullfighting arena, but also the man behind the costumes of gold, the person behind the swashbuckling and macho poses. This is the face of a man whose livelihood comes from risking his life challenging the stronger, more powerful bull, all for the pure entertainment of the roaring crowd. A performer, like an actor, a clown or an artist, who risks their public reputation as well as their inner self for the rewards of being on center stage.