Opening hours for the visit
THE VISIT TO THE BULLRING AND EXHIBITIONS HALL
IS SUSPENDED FROM NOVEMBER 11
Closed on 25 December.
Access closed 30 m. before the closing time.
Over 65 years old and pensioners
Students (under 26 years old)
Children from 0 to 6 years old (accompanied)
Childrens from 7 to 11 years old (accompanied)
Family Ticket (2 adults and 2 children under 15 years old)
Family Ticket (2 adults and 3 children under 15 years old)
Prices for groups on request.
This fare are not applicable on Wednesdays from 14.00 to 16.00 hrs.
In 2008, their Royal Highnesses the Prince and Princess of Asturias inaugurated the new rooms of paintings and bullfighting prints of the Art Bullfighting Collections of the Real Maestranza de Caballería de Sevilla on 21 November.
For illustrating the significance of a visit to the Royal Bullring of the Maestranza, few testimonies are more eloquent than the words of the architect Rafael Moneo, extracted from the XXIXth Pregón Taurino of which he was the author, and the guest of the Real Maestranza de Caballería de Sevilla:
«The Maestranza is without doubt one of the City’s most beautiful monuments (…) one of those pre-eminent edifices which are able to confront alone the passage of time and which make Seville what it is. Is there, by any chance, a site more beautiful than that of the Maestranza? Looking over the river, the Maestranza has seen the waters of the Guadalquivir flow past without feeling time passing. And if the Giralda brings cultures together, the Maestranza reminds us that there is always a place for the brave, and that our destiny is not decided.
That the Maestranza is and has always been the quintessential bullring, the one that best represents what the Festival is capable of providing, is something which no-one can call into question (…) it was always an architectural work with a life of its own.
Speaking about the architecture of the Maestranza means speaking about its proportions, about the relationship established between the stands and arcade and the arena. On entering the precincts of the Maestranza, one is always surprised by the spaciousness of its generous arena, which is certainly the reason why we feel as if we have been transported straight into open country, despite being aware that we are in fact in the heart of a metropolis like Seville (…) the Prince’s Gate is the unexpected parenthesis in the City which, as we have said, makes us feel again the air of the pastures where the bulls are raised, the open country. In how many other bullrings does that happen? In none, I venture to say.
The arena continues towards the front rows so that the well-painted planks of the barrier forming the alley make it look like an elegant ribbon. A ribbon bounded by the pipeclay, and creating a colour tone which is very difficult to find in any other bullring. Pipeclay of the Maestranza. It is no small thing. It is the universe of the bullfighter, which is the way he feels it on seeing that its convexity brings to him the presence of what the poet called “the integrity of the planet” (…) The bullfighter feels the roundness of the Earth (…) Pipeclay of the Maestranza, on which all who wished to be bullfighters had to tread: Pepe Hillo and Pedro Romero, Paquiro and Cúchares, Frascuelo and Lagartijo, Joselito and Belmonte…»
The route through the tendidos of the bullring is complemented by its Art Bullfighting Collections, which is composed of two clearly distinct sections. The first section that one visits contains an exhibition of paintings and a selection of the bullfighting prints which belong to the Real Maestranza’s collection, one of the largest in the world. These rooms were inaugurated by their Royal Highnesses the Prince and Princess of Asturia on 21 November, 2008.
The Paintings Room contains a collection of oil paintings from the XVIIIth, XIXth and XXth centuries which constitute an outstanding bullfighting art gallery, principally from the Romantic Period. Scenes in the countryside and in the bullring, bullfighters and personalities connected with the bullfighting world are captured in works by Gutiérrez de la Vega, Eugenio Lucas, José Elbo, Joaquín and Valeriano Domínguez Bécquer, José Jiménez Aranda, Horace Vernet, John Philip and Nicolás Ruiz de Valdivia, among others.