with you, Augustine and Joaquin. Masters of bullfighting photography whose names remain a mystery to many of their supporters. It happens with Antonio and Rafael, members of theThose of the River‘, and with José Víctor and José Luis, the couturiers Vittorio and Lucchino. We have already told about these designers how they approached to greet and compliment Morante for the queue of the Maestranza: «Good afternoon, maestro. I don’t know if you know me, but…” ”Of course I know him, but I don’t know if you are Vittorio or Lucchino”, replied the genius. Something of the sort continues to happen with the protagonists of this page on bullfighting, which everyone has perfectly identified under a signature (Arjona) of which are his latest connections. The fourth generation of a saga that has been known through a spectator find, capture and capture, like few others, the art of bullfighting.
During this last season they trod almost as many alleys as carpets, on which they promoted ‘Rosemary aroma‘, a collection of the best images of the Pharaoh of Camas from his debut as a calf in the extinct little square of Handkerchief in 1954 – was enough for the illustrious Pepe Arjona (father of Agustín and grandfather of Joaquín) received the news of a boy who was a good bullfighter in the football field of Camas to go and meet him – until his retirement in 2000. They are more than 150 photographsmany of them unpublished, showing an intimate Curro Romero in a hotel room, while celebrating among his people or posing as a model in front of the legendary Flute by Gabriel Rojas. This last photograph is by Agustín, who continues to describe in detail that task whose iconic rudeness he immortalized so that Sebastián Santos could shape a monument to the Fine Arts.
Curro Romero’s stand in front of the Flautino bull, an image that served as a model for the sculptor Sebastián Santos for his monument
Maya Balanya
Only a few copies of ‘Aroma de Rosemary’ remain after a «total success» wherever they took him, especially Mexico. «The genesis was that Curro is a bullfighter who resembled no one, and to whom no one appeared. Many things have been done about it, even if it has nothing to do with this concept of Art. It is a reflection of the reinvention of the Arjona family, which, far from becoming stagnant in the face of new times, has innovated. “Previously [los toreros] They asked you to “make me as many copies” of these photographs. And since your debut in Seville they bought everything from you. They took those photographs to newspapers for interviews and put them in restaurants or shops,” says Agustín, who illustrates his example with the cloud walls of the Venta Pazo. Today they work directly for companies –among others, in Pagés and Lances de Futuro–, so that the graphic material can be used by the media. Everything has changed. And, in some cases, they accompany the bullfighters. «We went with Castella, Manzanares, Emilio de Justo and, for many years, fixated with Diego Ventura». They will soon recover their bullfighting yearbook (after the pandemic it comes out every two years), part of the same editorial project.
Joaquín and Joaquín Arjona stroll through the Murillo Gardens with a copy of ‘Aroma de Romero’
Maya Balanya
Although the dynasty reaches 110 years of bullfighting photographs – Agustín González Arjona, recognized portraitist of 20th century Sevillehe also photographed Juan Belmonte in the Maestranza and Joselito in the Monumentale – recognition of the feat was obtained only in the second half of the last century with the remembered Pepe Arjona. His son Agustín, who recognizes him in his case ”the love for bullfighting comes before photography», he debuted by immortalizing a cover of the ABC of Seville. It was Tuesday 28 August 1979 when he took the images of thatBloody afternoon at Maestranza‘. Almost half a century in which Agustín (like now Joaquín), in addition to the “bloody”, praised the artistic. This is what this book is about, like its signature: Art.
Postscript: Agustín is on the left of the image and Joaquín is on the right. With you, Arjona.
How has digital technology impacted the art of bullfighting photography?
Interview between Time.news Editor and Bullfighting Photography Experts Agustín and Joaquín
Editor: Welcome to Time.news! We have the pleasure of speaking with Agustín and Joaquín, renowned masters of bullfighting photography, often referred to as the Arjona family legacy in this field. Thank you both for joining us today!
Agustín: Thank you for having us! It’s a pleasure to share our work and passion.
Joaquín: Yes, we’re excited to discuss bullfighting photography and our recent projects.
Editor: Your family has a rich history in bullfighting photography. Can you tell us how you both got started in this art form?
Agustín: Our journey began with my father, Pepe Arjona, who was deeply immersed in capturing the spirit of bullfighting. He first photographed Curro Romero’s debut, and that sparked a passion that runs through generations in our family. It almost feels like it’s in our blood.
Joaquín: Growing up surrounded by those incredible photos really inspired both of us. We learned to appreciate the art, not just as a profession but as a way to tell stories through our lenses.
Editor: Speaking of stories, your latest collection, ”Rosemary Aroma,” has received incredible acclaim. What makes this collection special?
Joaquín: “Rosemary Aroma” is unique because it showcases over 150 photographs, many of which are unpublished, capturing Curro Romero’s journey from his debut in 1954 up until his retirement in 2000. It intertwines personal moments, famous encounters, and captures the essence of bullfighting culture.
Agustín: Additionally, we wanted to reflect the connection between past and present. Curro Romero is a figure who embodies the spirit of bullfighting in Spain, and through this collection, we hope to revive that legacy for new audiences, especially in places like Mexico, where it has been particularly well-received.
Editor: It’s fascinating how you blend personal and professional milestones. Can you share a memorable moment from your experiences capturing these iconic figures?
Agustín: One of the most memorable moments was when Curro posed in front of the Flautino bull, a photograph that later served as a model for Sebastián Santos’s monument. Capturing that moment felt transcendent; it was more than just a photograph; it was a piece of history.
Joaquín: Yes, moments like that remind us why we do what we do. The intimacy of those encounters is irreplaceable.
Editor: The world of bullfighting photography has evolved significantly. How have you adapted to new trends and technology over the years?
Joaquín: We’ve seen a tremendous shift from simply capturing images for personal use to creating high-quality visual content for companies and media outlets. We now often collaborate with bullfighters and companies like Pagés and Lances de Futuro to ensure our work meets the demands of today’s fast-paced media environment.
Agustín: And while we’ve embraced digital technology, we always try to retain the artistry and narrative quality of our photography. It’s essential to stay relevant without losing our roots.
Editor: It’s evident that you both have a deep love for this craft. What do you see for the future of bullfighting photography and your own work?
Joaquín: We want to continue evolving with the art form while honoring its traditions. We’re excited to recover our bullfighting yearbook, which we’ll be releasing bi-annually after the pandemic. It’s part of our effort to keep this unique culture alive.
Agustín: Exactly. As long as there are stories to tell, and moments to capture, we will be there with our cameras ready to document the beauty and passion of bullfighting.
Editor: Thank you, Agustín and Joaquín, for sharing your journey and insights with us. We’re looking forward to seeing more of your extraordinary work!
Joaquín: Thank you! We appreciate the platform to share our passion.
Agustín: Yes, thank you. It’s been a pleasure!