ARTE CONTEMPORÁNEO I: DEL NEOCLÁSICO AL REALISMO

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Del Neoclásico al Realismo. Goya__________________________________________ © Reme Serrat / Ildefonso Suárez ARTE CONTEMPORÁNEO I: DEL NEOCLÁSICO AL REALISMO. GOYA I.-­‐ ORIENTACIÓN: LA ESTÉTICA EN LA CRISIS DEL ANTIGUO RÉGIMEN: RAZÓN, ESCEPTICISMO Y SENTIMIENTO. II.-­‐ CARACTERÍSTICAS GENERALES DE LA ARQUITECTURA NEOCLÁSICA: JUAN DE VILLANUEVA. III.-­‐ LA ESCULTURA. Antonio Cánova IV.-­‐ GOYA, CLAVE DE LA PINTURA ACTUAL. B.-­‐ ETAPAS ARTÍSTICAS. B1.-­‐ Años de aprendizaje y formación. B2.-­‐ Pintor Neoclásico y éxito artístico. B3.-­‐ Crisis personal y cambio social. B4.-­‐ La Guerra de la Independencia y el desencanto. De los disparates a las pinturas negras. B5.-­‐La estancia en Burdeos y sus últimas pinturas.
C.-­‐ VALORACIÓN DE SU OBRA. V.-­‐LA PINTURA FRANCESA DEL NEOCLASICISMO, ROMANTICISMO Y REALISMO: DAVID, DELACROIX Y COURBET. A.-­‐ EL ARTE EN TORNO A LA REVOLUCIÓN FRANCESA: DAVID. B.-­‐ LA PINTURA ROMÁNTICA: DELACROIX. C.-­‐ LA PINTURA REALISTA: COURBET. I.-­‐ CONTEXTO HISTÓRICO-­‐CULTURAL: RAZÓN, ESCEPTICISMO Y SENTIMIENTO. • El neoclásico es una tendencia artística que comenzará a mediados del s. XVIII como reacción al aristocrático "rococó". Es el producto del racionalismo, del enciclopedismo, de la ilustración y del nuevo clasicismo que es-­‐
tas tendencias imponen. Hay que tener en cuenta que en 1719 se descubría Herculano y en 1748, las ruinas de Pompeya, sepultadas por las cenizas del Vesubio. Diversas publicaciones habían dado a conocer el resultado de las excavaciones. •
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Entre finales del s. XVIII y principios del XIX se van a producir cambios políticos y económicos fundamentales. Desaparecerán el absolutismo monárquico sustituido por los nuevos sistemas liberales y tras varias oleadas de revoluciones (entre ellas, la revolución francesa). El Neoclasicismo se convertirá en el arte de la Revolución Burguesa.
La burguesía asume el papel de la aristocracia destronada. Será ella quien pague el nuevo arte para que decore los salones de su casa (muchas obras se “empequeñecen”) o las grandes estancias públicas de los nuevos Ayun-­‐
tamientos, Cortes, etc (ej: cuadros “históricos” casi encargados por metros). Las Academias, creadas en este siglo subrayan el valor estético de lo clásico y “las normas artísticas” frente al “mal gusto” barroco y rococó. Este nuevo estilo, se prolongará hasta el Imperio Napoleónico. Pero después, la propia Revolución se verá en-­‐
vuelta en contradicciones. Frente al racionalismo empezarán a surgir tendencias idealistas que se caracteriza-­‐
rán por el libre desenvolvimiento de la personalidad y proponen una visión espiritualista y sentimental de la Na-­‐
turaleza, donde el dinero y el cientifismo no existan, y que parten de algunos filósofos como Rousseau. Este nuevo estilo apuntaba a tendencias diferentes, mundo de los sentimientos, nostalgia de la antigüedad medieval, libertad absoluta del artista, predominio del color sobre el dibujo...Todo ello desembocará en el ROMANTICISMO a partir de 1815 y hasta 1860 aproximadamente. •
Goya podemos considerarlo producto de toda esta época, ya que atraviesa por un estilo Rococó desenfadado en sus primeros tapices, para luego pasar a un estilo crítico, individual, liberado de toda norma; de ahí que se pueda hablar de Goya como producto de una nueva sensibilidad tras la guerra y el fracaso revolucionario que supuso la restauración de Fernando VII. •
Romanticismo y Neoclasicismo convivirán durante este período hasta 1830, cuando el Romanticismo se con-­‐
vierte en el estilo artísticamente progresista y el clasicismo en el conservador. Habrá entonces un enfrenta-­‐
miento entre el arte Neoclásico y propagandístico de la Revolución, representado por David e Ingres, y la ten-­‐
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Del Neoclásico al Realismo. Goya__________________________________________ © Reme Serrat / Ildefonso Suárez dencia Romántica y menos académica representada por Delacroix, tanto de cara al público como a la crítica, creando la conocida polémica razón-­‐sentimiento. Esta polémica acabará tras 1830 imponiendo tendencias ro-­‐
mánticas que con el tiempo darán paso al REALISMO, producto ya de la Revolución Industrial y de la crítica social a la que dio lugar. Goya será producto de otra problemática nacional, de una sensibilidad nueva, que abrirá paso y será precursor de nuevas tendencias posteriores en el arte del siglo XIX y XX. •
El autor acabará “independizándose” del comprador. Aunque intente “vivir” del arte, creará para sí obteniendo o no éxito. Al mismo tiempo el arte derivará en negocio capitalista. Surgen galerías particulares y “marchantes” de arte. Pero aún no hemos llegado a la completa “mercantilización” del arte que se producirá ya en el siglo XX. II.-­‐ CARACTERÍSTICAS GENERALES DE LA ARQUITECTURA NEOCLÁSICA: JUAN DE VILLANUEVA. El Neoclásico se basa en el arte Romano, pero sobre todo en el Griego. Veamos cuáles serán sus principales caracte-­‐
rísticas: • Triunfó el estilo dórico griego, con fuste acanalado. • El templo helénico es imitado no solo en iglesias, sino en toda clase de monumentos públicos. • La base de la arquitectura neoclásica es la columna. Como en los buenos tiempos de Grecia, los frontones se rellenan con esculturas. • La ciencia del espacio sigue siendo romana, por ello no se prescindió de las bóvedas y cúpulas romanas. • El Neoclásico tuvo una escasa capacidad creadora, predo-­‐
minó pues la imitación por encima de la invención, estando La Puerta de Alcalá. Madrid
plenamente convencidos los arquitectos de la superioridad del arte helénico. El renacimiento y el barroco fueron, al contrario, infinitamente más fecundos e innovado-­‐
res. • El Neoclásico tiene su centro en Francia, país que sucede a Italia en el papel de cuna de los movimientos ar-­‐
tísticos. Al Rococó de Luis XV sucede en Francia el estilo Luis XVI, cuya decoración está compuesta de temas clásicos y renacentistas tratados con gran sobriedad. Predominan entre estos motivos los meandros y laure-­‐
les, formando enmarcaciones redondas y cuadradas, y el orden gigante. Bajo la égida de Napoleón, el clasi-­‐
cismo toma un sesgo aún más clasicista. Se constituye entonces el Estilo Imperio, que extrema la finura de los motivos decorativos, entre los que figuran los egipcios (lotos, esfinges, pirámides...), además de los pompeyanos y los propios de su imperio (el águila). • Al producirse la Restauración bajo Luis XVIII, no se interrumpe el Estilo Imperio, pero poco a poco va ganando puestos el arte gótico, preferido por los románticos. • En cuanto al Neoclásico en España, pocos países opusieron tanta resistencia a este estilo, ya que aquí el Ba-­‐
rroco había encontrado un clima muy favorable. Pero ya la entrada de artistas extranjeros, a comienzos del reinado de Felipe V, para trabajar en obras cortesanas, había iniciado una depuración de las formas que al-­‐
canza su punto culminante en la segunda mitad del siglo XVIII. Circunstancia decisiva fue la creación de las Academias, a imitación de las francesas. • En la época de Carlos III, el Rey Arquitecto, se emprende una labor extraordinaria de mejora urbana. Se re-­‐
tiran los pisos volados de las viviendas medievales, imponiéndose el corte a plomo, con lo cual las calles re-­‐
ciben mejor aireación e iluminación. Se crea el alumbrado público (con aceite) y se constituye el cuerpo de serenos. Hay mejoras así mismo, en la pavimentación, abastecimiento y saneamiento. Pero, al propio tiem-­‐
po, se atiende al ornato público. Se abren calles amplias, se colocan arcos de triunfo, puertas conmemorati-­‐
vas, fuentes con estatuas y surtidores de agua, se concede gran importancia al árbol, que hace irrupción en la calle, y aparece el jardín. La mejor transformación se aprecia en Madrid. 2
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Del Neoclásico al Realismo. Goya__________________________________________ © Reme Serrat / Ildefonso Suárez IV.-­‐ GOYA, CLAVE DE LA PINTURA ACTUAL. A.-­‐ CARACTERÍSTICAS GENERALES. • Su obra es una constante y positiva evolución paralela a la sufrida por la sociedad española. . Cultivó todos los géneros pictóricos: mural al fresco, tapices, lienzos, grabados y litografías, dibujos al carboncillo, minia-­‐
tura sobre marfil. Pasó por todos los temas: religiosos, retratos, costumbrismo, cronista de guerra, etc. La crisis radical de la sociedad de su tiempo (luchas entre el absolutismo y el liberalismo, Rev. Francesa, Guerra Independencia, Fernando VII..), se ve reflejada en su crisis personal a partir de su sordera en 1793. • Podemos dividir su obra en dos grandes etapas: Pertenece al S.XVIII, racionalista e ilustrado, hasta 1808, alegre y triunfante, con una fuerte influencia de Velázquez (perspectiva aérea, composición, reproducción vida cotidiana, paleta clara y brillante) y Rembrandt (preocupación por la luz, penetración psicológica de los personajes, expresividad, sobriedad del color..) Y una segunda en la que pasa de un liberal romántico a un descreído social y un enfermo cínico con su tiempo. Pasará de la sensualidad y belleza de la Maja Desnu-­‐
da al horror de las pinturas negras, Goya representa el puente entre los dos estilos tan contrapuestos. Su pintura tiene influencias del Greco (retorcimiento figuras, temas relacionados con la muerte, uso de blancos y negros..) y del Bosco (surealismo, fantasías..). • La pintura de Goya está en permanente autorrevisión. Es un pintor de contrastes. Es el autor de las fiestas casi de estilo rococó, pero también de los fusilamientos; de los niños que juegan despreocupados y de las brujas horribles que se reúnen en aquelarre. ¿Es un pintor realista, o un artista fantástico que huye de una realidad que no le satisface y crea su propio mundo visionario?. Las dos facetas pueden aplicársele, aunque probablemente, domine en el fondo siempre el realismo, y la fantasía sea una especie de realismo al revés, un grito con el que pretende cambiar la realidad que tan bien distingue. B.-­‐ ETAPAS ARTÍSTICAS. B1.-­‐ Años de aprendizaje y formación. (1756-­‐1775) Goya nació en 1746 en el pueblo aragonés de Fuendetodos. Sus primeros años transcurrieron en Zaragoza, en el taller del pintor José Lujan. Después pasó a Parma donde pintó Aníbal pasando los Alpes, El Sacrificio de Vesta y Visitación. A su regreso a Zaragoza se le encargó el fresco de la bóveda del coreto del Pilar, La gloria del nombre de Dios, todavía con rasgos del Barroco. En 1774 se traslada a Madrid, donde la sociedad corte-­‐
sana ofrecía incentivos para el pintor. Allí contrae matrimonio con Josefa Bayeu, hermana de un pintor im-­‐
portante de la capital. B2.-­‐ Pintor Neoclásico y éxito artístico. A través de su cuñado Bayeu, recibió el encargo de pintar cartones para la Real Manufactura de Tapices, in-­‐
dustria fomentada por el reformismo borbónico. Los cartones fueron los que formaron a Goya como pintor ya que lo introdujeron en el camino de la libertad formal que en la pintura religiosa hubiera sido imposible recorrer. Estos tapices representan el gusto aristocrático del momento, casi rococó. Se tiende a los temas populares, y los nobles , a los que les gusta vivir y retratarse como plebeyos, aparecen representados en verbenas, romerías y todo tipo de fiestas populares, toros y teatros. En estos tapices recoge la línea que había iniciado la pintura ligada a la Academia, y abandona definitiva-­‐
mente la retórica barroca. En 1785 es nombrado subdirector de la Academia de San Fernando, y su pintura sigue los gustos neoclásicos, lo que se aprecia en la forma de componer los cuadros y en el uso de colores vivos. Los temas son costumbristas, pero ya empieza a parecer la preocupación social, y la crítica sarcástica a la sociedad del momento. Destacan El albañil herido, La boda, El ciego de la guitarra.. .También realiza mu-­‐
chos más temas, la mayoría para cartones de tapices, como El cacharrero, Las cuatro estaciones, serie de cuatro cuadros en el que destaca La vendimia, La gallina ciega# , La caza del jabalí, Niños con mastines, La pradera de San Isidro.# 5
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10
Del Neoclásico al Realismo. Goya__________________________________________ © Reme Serrat / Ildefonso Suárez el precursor del Romanticismo, por el análisis sentimental de los personajes y el tratamiento de las masas como protagonistas; del Impresionismo, por el tratamiento de la luz, del color y por sus pinceladas sueltas; del Expresionismo, porque sacrifica la forma, el detalle, en aras de resaltar la expresión, simplificando las fi-­‐
guras; del Surrealismo, porque refleja el mundo del subconsciente, de los sueños, como El Bosco lo había ya hecho. Podemos decir que Goya rompe con la tradición, con el hecho de pintar siempre lo que se ve, y crea un mundo propio, donde la fantasía y la crítica juegan un papel más importante que la realidad visual. Todos los movimientos pictóricos posteriores a Goya, beben de su obra, no es por tanto exagerado llamarle "el primer pintor moderno". 11
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16
Del Neoclásico al Realismo. Goya__________________________________________ © Reme Serrat / Ildefonso Suárez •
hombre "sin ideal y sin religión". Su arte pues, lleva una profunda carga patética, pero a la vez delicada. Su preocupación por la materia le llevará a una perfección en el dibujo que luego recogerá, tras una etapa impresionista, la pintura de Cézanne. La grandiosidad de sus figuras influirá también en pintores posteriores como Van Gogh. Su pintura es un manifiesto personal que se concentra en lo visible y lo actual, con lo que se abre un campo inmenso a la pintura, que intentará lograr la esencia o la totalidad de un fenómeno. Cuando represente a la naturaleza, muestra la fuerza de la misma, como en su cuadro Ola. Pero la crudeza realista de la que se le ha acusado constantemente, no es tal, ya que en sus cuadros se descubren inéditos sentimientos de belleza a pesar, de que en Jóvenes en el borde del Sena escandalice por la manera tan antiacadémica con que se extienden sus cuerpos por el suelo. 17
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