Few subjects in art carry as much raw emotion and cultural weight as bullfighting symbolism in paintings. Ernest Hemingway’s Death in the Afternoon immortalized the Spanish corrida in literature, while the series Civilon captures its visceral drama on canvas. This article explores the artist’s journey initially inspired by the Ferdinand story, culminating in the creation of the “Civilón” series. Every painting offers a narrative that extends beyond its visual representation and invites the viewers to explore its deeper meanings. ‘Death in the Afternoon,’ a vivid piece from the series Civilón – The Bull Who Ate Flowers, captures brutality and bloodshed that reduce once majestic creatures to lifeless carcasses, bleeding and suspended. The article delves into the historical and emotional context that inspired ‘Death in the Afternoon,’ attempting to shed light on the events of June 1936 that gave birth to this powerful work of art.
The Roots of Bullfighting Symbolism in Paintings
June 28, 1936, Barcelona
The story behind painting ‘Death in the Afternoon’ is inextricably linked to the political and social unrest of 1936 Spain. While the political climate was tense and the shadow of the impending civil war loomed large, casting a pall over the vibrant city of Barcelona, the excitement of the bullfight offered a temporary escape for many.
On June 28th, the arena was filled with spectators, eager to witness the spectacle. The air crackled with a sense of anticipation, a mixture of excitement for the bullfight and a growing unease about the uncertain future. Among the bulls scheduled to fight that day was Civilón, a magnificent creature whose life and fate would become a poignant anti-war symbol. The first three matches held that faithful day had already seen the deaths of three bulls, a somber reminder of the fragility of life even amidst the excitement. This atmosphere of both anticipation and unease would soon give way to the harsh realities of war, forever altering the landscape of Spain.
The Day Civilón Defied Death
Civilón’s story is unique. The bullfighting symbolism in paintings inspired by his life takes on a deeply emotional dimension. Known for his strength and nobility, but also for eating flowers and being petted by a little girl, this bull was scheduled to fight in the fifth match of the day. As fate would have it, June 28, 1936 would prove to be a turning point in his life story characterized by the cruel twists of destiny.
When Civilón first approached the rejón, a tool used to weaken and tire the bull in preparation for the final act of the fight, an overwhelming plea for his pardon filled the arena. The crowd, rallying behind Civilón, demanded that he be returned to the corrales—the pens adjacent to the ring where bulls are kept separate and await their turn. In some cases, the condition of the bulls in the corrales—whether calm, aggressive, or agitated—can influence the nature of the fight.

Acknowledging the crowd’s demand, the presidente of the bullring raised his scarf, signaling the suspension of the fight. This allowed Civilón to return almost unharmed to the corrales. The bull had earned public favor to the point of saving his life. Before leaving the arena, the story goes that his owner, rancher Juan Cobleida, called him by name, and Civilón responded by following the sound of Juan’s voice. The bull leaned toward him for a caress, displaying an unusual level of familiarity with a man—something rarely seen in bulls. Through vivid imagery, bullfighting symbolism in paintings captures this intense emotional drama between life and death, courage and suffering, tradition and defiance.
Though there were voices against the pardon, calling for Civilón to be dealt with, the bull’s life was ultimately spared. Not only was he deemed noble and pardoned by the presidente, but he also became famous, almost like a domestic animal—cherished and celebrated. Unfortunately, while this remarkable event secured Civilón’s place in bullfighting history, his life story did not end there.
Changing the Bullfighting History
Portraying the Contrasting Fortunes in the Arena
The most striking contrast in this painting, and a very obvious one, is between the ornate beauty of the toreador’s costume and the gruesome reality of the slaughterhouse, painted in the warm colors of life and the cold hues of death. The toreador stands poised, his back turned to the viewer, symbolizing both the honor and the burden of his role. As he faces the lifeless bodies of the bulls, the painting captures a moment of silence—a pause before the impending violence. In bullfighting symbolism in painting, the figure of the matador often portrays the ritualistic beauty and existential weigh at the heart of the bullfighting tradition.
The bulls in this painting resemble the dead animals of the slaughterhouse more than the bulls who die a “noble death”—if it can even be called that. This is no mere coincidence; the intention is to draw a stark comparison between bulls bred for the corrida and those raised for the slaughterhouse. Bulls destined for the bullring experience a semblance of freedom, living under the open sky until their final confrontation. In contrast, bulls raised for meat spend their entire lives confined to barns, only released from their chains at the end, as they are transported to their death. Inspiration for painting “Casual Cruelty” stands behind this story.
This contrast, often explored through bullfighting symbolism in paintings, underscores the unavoidable similarity in the inevitability of death, highlighting two different paths that lead to the same cruel end.

Hemingway’s Influence on Bullfighting Imagery
Death in the Afternoon
The title Death in the Afternoon shares its name with Ernest Hemingway’s famous non-fiction work published in 1932. The book is a comprehensive examination of bullfighting, combining a technical guide to the sport with meditations on courage, fear, and mortality. Hemingway viewed bullfighting as a profound metaphor for the human condition and the confrontation with death.
In Death in the Afternoon, the famous writer explores the ritualistic and tragic aspects of bullfighting. He delves into the lives of the matadors, the bulls, and the spectators, revealing the complexities and raw emotions involved in the spectacle. In his work Hemingway underscores the theme of facing death with dignity and the inevitable encounter with mortality.
This painting echoes Hemingway’s themes—honor, mortality, and the fragile line between man and beast—making it a profound study of bullfighting symbolism in art. Just as Hemingway sought to capture the essence of bullfighting and its deeper meanings, this painting attempts to encapsulate the silent moment before the toreador’s battle, the tension in the air, and the fate awaiting both the bull and the matador. Through the toreador’s ornate costume and the lifeless bodies of the bulls hanging from chains, the artwork powerfully reflects the beauty and brutality central to bullfighting symbolism in paintings, much like Hemingway’s detailed descriptions and philosophical reflections.

The Bullfighting Symbolism in My Art
The Artist's Journey
As an emerging artist, my work is shaped by personal experiences and reflections on life, death, and in that context the treatment of animals. These themes deeply influence my artistic vision, often drawing on bullfighting symbolism in paintings to challenge viewers to confront the ethical and moral implications of our actions toward animals, other humans, and the planet itself.
In essence, the painting Death in the Afternoon is a profound exploration of life, death, and the haunting silence that follows. Set against a nation on the brink of war, the story behind the image taps into the rich tradition of bullfighting symbolism in art and serves as a powerful reminder of life’s fragility and the harsh realities faced by both humans and animals.

