domingo, 13 de diciembre de 2015
sábado, 12 de diciembre de 2015
Capricho nº 43, El sueño de la razón produce monstruos
Autor: Francisco de
Goya y Lucientes
Fecha: 1793-1796
Museo:
Museo del Grabado de Goya
Material: Grabado
Goya es el mejor grabador de la historia del arte español. A través de sus estampas, especialmente con los Caprichos, realizará una interesante crítica a la sociedad española de la Ilustración. La serie de los Caprichos consta de 80 grabados realizados entre 1793 y 1796, poniéndose a la venta el 6 de febrero de 1799. Fueron ejecutados empleando aguafuerte y aguatinta pero la importancia de esta obra no está en la realización, sino en el contenido de sus imágenes, consideradas peligrosas para la época por su sarcasmo. Toda la sociedad es criticada por el artista: la educación, la religión, la nobleza, la prostitución y un largo etcétera, por lo que intervino la Inquisición. Para evitar problemas con el Santo Oficio, Goya regaló las planchas y los ejemplares sin vender a Carlos IV a cambio de una pensión para su hijo Javier.
El Capricho más famoso es el grabado que lleva la leyenda: " El sueño de la razón produce monstruos"
"El sueño de la razón produce monstruos", iba a presidir la serie en un principio, desplazándose al número 43 en la edición definitiva. El pintor cae rendido sobre su mesa de trabajo, rodeándole una serie de animales: aves nocturnas, murciélagos y búhos y de un gran gato, en aquel momento símbolos frecuentes de la estupidez y de la ignorancia, cuando no del diablo. Se suma un lince, animal famoso por su aguda visión. Todos ellos representan sus propios monstruos y fantasmas. Con esta imagen quería indicarnos cómo la razón libera sus fantasmas durante el sueño, a través del subconsciente. También podría aludir al deseo del artista por desenmascarar todos los monstruos de la sociedad a través de sus estampas, destacando así el poder de la razón sobre las tinieblas de la ignorancia, filosofía característica del pensamiento ilustrado.
La palabra sueño tiene dos significados: "dormir y soñar," lo que permite, que la frase se interprete de dos maneras distintas. Si significa "dormir", entendemos que cuando la razón se queda dormida, los monstruos nocturnos asoman la cabeza y por lo tanto es preferible despertarse para apartarlos. Si la palabra sueños significa "soñar", entonces, es la propia razón la que produce esos monstruos cuando funciona por la noche. La razón, por tanto, produce ideas claras, pero también pesadillas. La razón está ausente cuando duerme porque se dedica a soñar.
La palabra sueño tiene dos significados: "dormir y soñar," lo que permite, que la frase se interprete de dos maneras distintas. Si significa "dormir", entendemos que cuando la razón se queda dormida, los monstruos nocturnos asoman la cabeza y por lo tanto es preferible despertarse para apartarlos. Si la palabra sueños significa "soñar", entonces, es la propia razón la que produce esos monstruos cuando funciona por la noche. La razón, por tanto, produce ideas claras, pero también pesadillas. La razón está ausente cuando duerme porque se dedica a soñar.
sábado, 5 de diciembre de 2015
Joseph Mallord William Turner (1775-1851)
Early Years:
In Turner's early paintings he did dramatic, Romantic subjects by emphasizing luminosity, and atmosphere. One can observe a more precise attention paid to architectural and natural details in his early years, as compared to his later years.
During this time, he played with all the styles of landscape composition including historical, architectural, mountainous, pastoral and marine. His series of 71 etchings, inspired from his existing paintings and watercolors, show all of these styles (1807-1819).
Middle Years:
His painting became more luminous and atmospheric. He began to focus more on color than the real details. St. Mawes at the Pilchard Season, is an example.
Advanced Years:
Still, he give less and less attention to detail, while his canvas now begin to get movement. His Norham Castle,is as mere color touch.
Some of his more famous later paintings, he uses the theme of modern technology. He moves away from marine matter, his own age represented as an old ship replaced by a steamboat, and focuses now on the railway in Rain, Steam, and Speed-the Great Western Railway (1844). This is a prime example of how Turner focused mainly on colors and the idea of fluidity through his colors.
"When Rothko saw an exhibition of Turners at the Museum of Modern Art in New York in 1966, he joked, 'This guy Turner, he learnt a lot from me.'"
Mark Rothko (1903-1970)
Rothko's art had emotional content that he represented through a range of styles that evolved from figurative to abstract. Rothko's early figurative work - including landscapes, still lifes, figure studies, and portraits - demonstrated an ability to blend Expressionism and Surrealism. His search for new forms of expression led to his Color Field paintings, which employed shimmering color to convey a sense of spirituality.
"If you are only moved by color relationships, you are missing the point. I am interested in expressing the big emotions - tragedy, ecstasy, doom."- Rothko.
If you want to learn more about Rothko and Turner, click here:
http://www.borsheimarts.com/news/2011_03_Art-vs-Science_Turner-Rothko.htm
http://www.bloomberg.com/apps/news?pid=newsarchive&sid=am0bsz5NPioo
Early Years:
In Turner's early paintings he did dramatic, Romantic subjects by emphasizing luminosity, and atmosphere. One can observe a more precise attention paid to architectural and natural details in his early years, as compared to his later years.
 |
| Warkworth Castle, Northumberland - Thunderstorm Approaching at Sunset |
During this time, he played with all the styles of landscape composition including historical, architectural, mountainous, pastoral and marine. His series of 71 etchings, inspired from his existing paintings and watercolors, show all of these styles (1807-1819).
Middle Years:
His painting became more luminous and atmospheric. He began to focus more on color than the real details. St. Mawes at the Pilchard Season, is an example.
 |
| Frosty morning (1813) is based on the effects of light. |
 |
| St. Mawes at the Pilchard (1812) |
Advanced Years:
Still, he give less and less attention to detail, while his canvas now begin to get movement. His Norham Castle,is as mere color touch.
 |
| Norham Castle |
Some of his more famous later paintings, he uses the theme of modern technology. He moves away from marine matter, his own age represented as an old ship replaced by a steamboat, and focuses now on the railway in Rain, Steam, and Speed-the Great Western Railway (1844). This is a prime example of how Turner focused mainly on colors and the idea of fluidity through his colors.
 |
| The Fifhting Temeraire |
"When Rothko saw an exhibition of Turners at the Museum of Modern Art in New York in 1966, he joked, 'This guy Turner, he learnt a lot from me.'"
Mark Rothko (1903-1970)
Rothko's art had emotional content that he represented through a range of styles that evolved from figurative to abstract. Rothko's early figurative work - including landscapes, still lifes, figure studies, and portraits - demonstrated an ability to blend Expressionism and Surrealism. His search for new forms of expression led to his Color Field paintings, which employed shimmering color to convey a sense of spirituality.
"If you are only moved by color relationships, you are missing the point. I am interested in expressing the big emotions - tragedy, ecstasy, doom."- Rothko.
If you want to learn more about Rothko and Turner, click here:
http://www.borsheimarts.com/news/2011_03_Art-vs-Science_Turner-Rothko.htm
http://www.bloomberg.com/apps/news?pid=newsarchive&sid=am0bsz5NPioo
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