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The spectacle of bullfighting has existed in one form or another since ancient days.
Six bulls, to be killed by three matadors, are usually required for one afternoon’s corrida and each encounter lasts about 15 minutes.
At the appointed time, generally 5 PM, the three matadors, each followed by their assistants, the banderilleros and the picadors, march into the ring to the accompaniment of traditional paso doble (“march rhythm”) music.
For example, a contest of some sort is depicted in a wall painting unearthed at Knossos in Crete, dating from about 2000 BC.
It shows male and female acrobats confronting a bull, grabbing its horns as it charges and vaulting over its back.
Mara” — Frida Kahlo, October 1946 This group of twenty-five letters that the Mexican painter, Frida Kahlo wrote to a Spanish refugee named Jose Bartoli between August 1946, when she had just turned thirty-nine, and November 1949, show that she knew how to write love letters that flow with poetry and passion.
Kahlo’s letters are steamy with unbridled sensuality and they are, like Kahlo’s paintings, extraordinarily direct and personal.
The 25 letters were written by Frida Kahlo to Jose Bartoli, a Catalán émigré artist whom she met in New York.
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The matadors (the term toreador, popularized by the French opera Carmen, is erroneous usage) are the stars of the show.