Considered one of the most important realist painters in the country, the artist Jorge Dager begins a new stage in his workshop, which takes as a starting point for his compositions, the world of bullfighting.
In his first paint Dager takes us towards the search of perfection in the details within the composition. The brushstroke is more secure and an interesting evolution of the artist begins towards new communicational languages such as the incorporation of the third dimension, achieved by fine threads superimposed on one another over watermarks, which later give us the three-dimensionality that the ornaments look like of the bullfighter’s costume
It draws attention, the hyper realistic work of the rest of the costume, allowing it to be the focus of the Work; leaving a half-seeing bull in the background. We see two confronting worlds, the bullfighter versus the bull and an intimate relationship without the presence of the very typical bustle, of the Works of this type, represented previously by great artists of the world plastic figure.
It is said that one of the first to capture the fight was Francisco de Goya in his famous etchings and following years, these bullfighting parties would be immortalized with artists such as Dalí, Picasso, Manet, Fortuny, Sorolla and Zuloaga among others.
Today, far from the controversy that the bullfighting theme makes clear to a sector of society and faithful to the hyperrealist genre that has always worked, Dager shows a world of interesting bullfighting moments, where the relationship between the protagonists goes further and approaches to the plastic beauty of the Work itself.