See also: Trust

In the world of the Bullfighting, the trust ( Spanish wall cupboard in ) is the poster announcing a Corrida. The term indicates also the plate of high-speed motorboats of a race, men and deer.

Presentation

The trust comprises in its contemporary form, offers, in its upper part, a stylized representation of a tauromachic scene and, in its lower part, indicates the date, the place and the hour of the bullfight, as well as the name of the Matador S and the Ganadería.

The study of the trusts taurins is of multiple interest, as well from the graphic point of view, as artistic or historical. Principal tool of propaganda of the tauromachic activity, it makes it possible to follow the evolution of the uses in time (time, order of the lidia, etc), of the precepts and the tastes of the afición (intervention of the picador, fights with foot).

From an artistic point of view, it makes it possible to observe the influence of the various currents (Néoclassicisme, Romantisme, Avant-garde…). Lastly, from a historical point of view, it makes it possible to keep the trace of combat of legend, marking the catch of alternative of a large bullfighter or the death of a matador in the arena.

History

The oldest trust taurin which arrived to us announces the festivities organized on the place Soto de Luzón in Madrid, from September 19th to 30th 1737. The first printed trusts, of a rudimentary esthetism, are limited then to the advertisement of the date and the place of the combat, the participants and the owners of the animals, exploiting different typographical characters simply.

They end gradually up replacing the advertisements of the public criers, which up to that point informed behavior of a bullfight and evacuation of the place envisaged for this purpose (see Despejo). Just as the public opinions, the printed trusts mention prohibition - as to throw in the Ruedo crates of oranges, stones, sticks or animals dead - and elements of the payment which, with the wire of time, will constitute the rudiments of a payment taurin.

During the 18th century and first half of, during which the neo-classic styles and Empire prevail, the aspect of the trusts affirms itself little by little, generally through framings and of typographical signs.

Although the most important technical innovations are reproduced on the posters of the arenas of Maestranza of Seville, the historians consider that only the trusts of the arenas of Madrid make it possible to follow a coherent evolution of the style.

Until 1840, a heading was reserved for the approval of the bullfight by the authorities (the king and the queen in Madrid). This year, the mention is definitively removed at the time of a bullfight inhabitant of Madrid, celebrated in the honor of the “glorious Pronunciamento of this capital in favor of constitution of 1837 and freedoms of the fatherland”, illustrating the triumph of the liberal ideas.

The royal abandonment of the heading makes place with a certain creative freedom: one consequently sees appearing a design of a new kind, integral labels and drawings, as was already the case in certain arenas distant from Madrid, influencing the format of the trusts durably.

The romantic influence is notable on the trusts of the time, posting a certain taste for the medieval style, the imitation of letters and Gothic architectural elements, in particular of the ogival framings.

Some posters, intended for the places more in sight, are coloured with the hand. The first painted portraits of the bullfighters high-speed motorboats make their appearance, with Lagartijo or Cara-Ancha. Prestigious artists, like Joaquín Sorolla there Bastida, start to be solicited for their innovative talent, in particular at the time of caritative bullfights. During the 20th century, artists of reputation, among which Pablo Picasso, Rafael Alberti or more recently Miquel Barceló, was tested with the creation of trusts taurins.

References

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