Art

Eugène Delacroix: La llibertat guiant el poble

Ingres_Homer

Jean-Auguste-Dominique Ingres: L’apoteosi d’Homer, 1827. Oli sobre tela. 386 x 515,6 cm. Musée du Louvre, París.

Aquesta composició amb nombrosos personatges va ser encarregada a Ingres per decorar un sostre del “museu Carles X” al Louvre (actuals sales egípcies) i va ser dipositada el 1855. Fortament inspirada en el Parnàs de Rafael, aquesta pintura, que no és gens “pintura de sostre”, representa Homer divinitzat rebent l’homenatge dels grans homes de l’Antiguitat i dels artistes dels Temps moderns. Als seus peus, dues al·legories representen la Ilíada i l’Odissea.

Davant un temple al frontó del qual hi ha inscrit el seu nom, el poeta Homer, assegut, és presentat com un déu. És coronat de llorers per una Victòria. Als seus peus, dues dones assegudes personifiquen les epopeies que ha compost. La que porta una espasa simbolitza la Ilíada. La figura amb un rem representa l’Odissea. El poeta divinitzat rep l’homenatge dels grans homes de l’Antiguitat i dels artistes dels Temps moderns, en nombre de quaranta-sis. Entre les figures de l’Antiguitat, les que estan pintades dempeus i que són les més properes a Homer, s’hi reconeix a l’esquerra el poeta tràgic Èsquil amb un rotlle de pergamí, el pintor Apel·les amb els seus pinzells i la seva paleta, i a la dreta el poeta Píndar amb una lira, així com l’escultor Fídies amb una maça. Només dos artistes moderns, Dante i Rafael, pertanyen a aquest grup. Els altres moderns són col·locats més baix i són pintats de mig cos. Són sobretot artistes clàssics del segle de Lluís XIV, com els escriptors Racine, Boileau, Molière, Corneille, La Fontaine, o el pintor Nicolas Poussin.

Ingres va executar aquesta pintura de grans dimensions en un any i la va presentar al Saló de 1827. Volia fer-ne un manifest del classicisme. Des de la seva tornada a París el 1824, l’ancià revolucionari de l’art, tan criticat en la seva joventut, feia de successor de David, defensant la tradició clàssica enfront de Delacroix. Però el seu Homer deïficat va ser poc apreciat. La seva gran obra següent, El Martiri de sant Symphorien (catedral d’Autun), va ser encara més criticada, sobretot pels partidaris del classicisme, durant el Saló de 1834. El 1835, Ingres, contrariat, se’n va anar de nou de París a  Roma.

De conformitat amb el seu tema que exaltava als creadors clàssics, la composició del seu Homer és en gran part clàssica. Ingres no ha donat una perspectiva vertical, tan volguda pels pintors barrocs, a la seva tela tanmateix destinada a un sostre. La composició és frontal, i les figures estan disposades de manera simètrica a una banda i l’altra d’Homer, situat al cim d’una piràmide. Ingres s’ha inspirat en el fresc de Rafael a la cambra de la Signatura al Vaticà, El Parnàs. A la tela d’Ingres tanmateix li falta fluïdesa, comparada a les obres del seu model. Ingres sembla haver juxtaposat retrats cèlebres dels grans homes, per exemple l’Autoretrat de Poussin. Els ha copiat amb una exactitud fotogràfica. Al mateix temps, la perspectiva del conjunt és negada, com en les seves obres anteriors més audaces (La Gran Odalisca). Hi ha potser aquí una voluntat d’adaptar-se a la funció decorativa d’aquesta tela, de no donar massa la impressió de perforar el mur. L’atenuació dels relleus i dels tons també hi contribueix.

Géricault i Delacroix mantingueren entre ells una tensa combinació de filiació i rivalitat similar a la que s’havia donat en el cercle de David. Delacroix havia perdut al seu pare a la infantesa i a la seva mare a l’adolescència. Compartia amb Géricault antecedents d’alta burgesia (el seu pare legal havia estat un important diplomàtic) i també va rebre la seva primera formació a l’estudi de Guérin. Allí es varen conèixer ambdós el 1817, i Delacroix va posar per una de les figures del Rai. Delacroix volia completar un quadre important pel Saló de 1822 en lloc de competir pel Premi de Roma. El resultat fou un exercici de sorprenent originalitat sobre un tema literari, La barca de Dante i Virgili, que representa el pas dels dos poetes pels pantans que envolten el cinquè cercle de l’infern.

Delacroix_Sardanapal

Eugène Delacroix: La mort de Sardanàpal, 1827. Oli sobre tela. 395 x 495 cm. Musée du Louvre, París.

A la darrera fase de la Restauració l’art es trobava en un punt mort, i aquesta situació va ser codificada d’una manera imaginativa en el gran quadre sobre el tema del suïcidi amb el qual Delacroix va desafiar a Ingres i a Devéria el 1827: la Mort de Sardanàpal.

Delacroix_Sardanapal_detall  Delacroix_Sardanapal_detall2

Per les reaccions oficials i dels crítics, el repte fou un fracàs. Pel que fa a la capacitat de l’artista per a convertir una escena de mort i destrucció repleta de figures en una declaració coherent, va representar, tanmateix, un gran avenç respecte Les matances  de Quios. La història del darrer rei assiri que decideix suïcidar-se abans que rendir-se als seus conqueridors, fou el tema d’un poema de Byron el 1821, que no trigà a traduir-se i a representar-se. Delacroix va augmentar les dificultats del tema amb una extraordinària magnificació de les implicacions nihilistes de la història. A l’heroi de Byron només l’acompanya una concubina favorita que voluntàriament accepta el seu destí, però el pintor, que recupera les antigues llegendes que el representaven com un monstre llicenciós, mostra a Sardanàpal observant indolentment l’execució de les seves ordres que la destrucció de les seves possessions i de les dones del seu harem tingui lloc davant dels seus ulls quan cremi la gran pira.

Inverteix el significat del model de Géricault. Al cim de la piràmide, el lloc de l’humil mariner negre fent senyals cap enfora, l’ocupa un monarca absolut que mira cap a l’interior per presenciar la mort de tots els que l’envolten. Les ambigüitats espacials del quadre, reflex extern de la pertorbació i el desordre mental de l’arquitecte de l’escena, són fruit d’aquest fort disseny subjacent: si tapem l’única cantonada visible del llit, la composició s’enfonsa fins esdevenir l’indisciplinat desori que els seus detractors consideraven que era. El mateix es podria dir de la dispersió dels incidents que atreuen la mirada per tota la superfície i de la tonalitat cromàtica constant, que de manera molt artificial confon la sang amb el foc i reforça una aclaparadora sensació d’amenaça claustrofòbica. El quadre resulta convincent pel seu abandonament de tot compromís amb els valors públics del passat davidià o del present monàrquic: el pacte social salta pels aires i Delacroix esdevé a la seva manera pintor d’història.

La seva extravagant projecció de la futilitat en el Sardanàpal fou duta a l’extrem d’una manera molt explícita mitjançant la imaginària violència exercida contra unes dones concebudes com objectes de possessió eròtica. El lamentable automatisme sexista de l’època, que feia acceptables aquestes desbaratades fantasies, no pot passar-se per alt.

La recerca de la forma sumptuosa, del nu opulent (Delacroix mai va sortir-se dels pressupòsits masclistes que mai hauria qüestionat) i les matèries nobles, porta Delacroix a desenvolupar temes de la història antiga, adobant-los amb un luxe de detalls que demostrin imaginació il·limitada. A aquest gènere correspon La mort de Sardanàpal, que descriu un episodi de la història assíria −el suïcidi del darrer dels seus rais, Assurbanipal− segons la faula grega.

Situa l’escena en un inconcret interior palatí en el qual l’acumulació d’objectes i personatges amaga pràcticament l’arquitectura. El monarca assisteix des del seu llit, a la matança de les seves dones pels membres de la seva guàrdia, a l’espera de suïcidar-se abans que l’enemic, que assetja la ciutat, pugui entrar en ella. D’acord amb les seves ordres, el palau ha estat incendiat, i ja s’aprecia la proximitat del foc en la densa fumarada del costat dret. L’orgia compositiva permet al pintor d’assajar els més agosarats escorços −per exemple, el nu femení d’esquena i de perfil, a la dreta− i recrear-se en la plasmació d’un amuntegament d’objectes sumptuaris, sens dubte teatral. Delacroix ha sotmès l’aparent desordre a una norma de composició tradicional, la d’acumular les formes en el triangle tancat per una diagonal del quadre; el procediment prové de la pintura veneciana.

Pel que ta a la tècnica pictòrica, aporta una execució de més gran llibertat, en la que l’economia d’esforç assoleix un grau molt notable. Les formes estan composades per àmplies taques de color, tot just concretades per traços lineals; àdhuc els trets del rostre han estat sumàriament, esbossats per tocs que, de lluny, produiran el volgut efecte de realitat. Aquest procediment interessaria després als impressionistes.

Delacroix_llibertat

Eugène Delacroix: La llibertat guiant el poble, 1830. Oli sobre tela. 260 x 325,1 cm. Musée du Louvre, París.

 

El 28 de juliol de 1830, el descontentament amb el regnat de Carles X va produir una violenta insurrecció als carrers de París. Aquest moment de revolta, que tan vívidament recordava els grans “dies” de la Revolució de 1789, fou ràpidament superat quan Lluís Felip, cosí del deposat rei, fou instal·lat al capdavant del que es va anomenar Monarquia de Juliol.

La reaccionària política del rei Carles X va dur a l’esclat de la revolució de juliol de 1830, en què, després de quatre dies de disturbis, el 2 d’agost de 1830, Carles X abdicà, amb la qual cosa, en principi, la corona passava al seu fill el duc d’Angulema qui, així, havia d’esdevenir Lluís XIX de França; ara bé, com que els revolucionaris no estaven pas disposats a acceptar-lo, va haver d’abdicar ell també aquell mateix dia, i, llavors, el nou rei havia de ser el seu nebot -i nét de Carles X- Enric, comte de Chambord, qui arribà a ser proclamat rei de França “Enric V”; ara bé, com que Enric només tenia deu anys, s’anomenà regent Lluís Felip d’Orleans. Al final, però, el 9 d’agost, l’Assemblea va decidir no reconèixer Enric V i oferir la corona a Lluís Felip.

Un cop a tron, Lluís Felip va titular-se rei dels francesos i no pas rei de França, instaurant així la idea de la monarquia popular en què el títol del rei es vincula a un poble i no pas a un estat. Per altra banda, Lluís Felip va rebutjar la idea del dret diví dels reis. A més, per l’ordenança del 13 d’agost de 1830, el rei va decidir que el seu primogènit duria el títol de duc d’Orleans -i no pas el de Delfí- i que la germana i els fills del rei serien prínceps d’Orleans i no pas de França. El 1832, la seva filla, la princesa Lluïsa d’Orleans es casà amb Leopold I rei dels belgues. El juliol de 1835, Lluís Felip va sobreviure a un intent d’assassinat dut a terme per Giuseppe Mario Fieschi al boulevard du Temple de París.

En el seu govern, Lluís Felip va evitar la pompa i el luxe de Carles X i els seus predecessors; per això, se’l va conèixer com el “rei ciutadà” o el “monarca burgès”; ara bé, aviat les seves polítiques es van percebre com a autoritàries i conservadores; a més, durant el seu regnat, van empitjorar les condicions de vida de la classe obrera; la caiguda del seu règim va ser precipitada per la crisi econòmica de 1847.

Delacroix no va acabar el seu quadre commemorant la revolta fins el 1831. No era cap radical i personalment no tenia res en contra d’una monarquia constitucional moderada. Però les exigències de les seves lleialtats i habilitats artístiques el feren pintar La llibertat guiant el poble.

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Carles X, i el seu impopular ministre, el príncep de Polignac, qüestionen els guanys de la Revolució. L’oposició liberal, a través del diari El Nacional, prepara la seva  substitució pel duc Luís Felip nd’Orléans. A la sessió de la Cambra del 2 de març de 1830, Carles X amenaça amb castigar sense consideració. Els diputats es neguen a col·laborar. El rei signa i publica a Le Moniteur quatre disposicions que suprimeixen la llibertat de premsa i que modifiquen la llei electoral. És una violació de la Constitució. I és la revolució a París. En tres dies anomenats “Trois Glorieuses” −els 27, 28 i 29 juliol− , els Borbons són destituïts.

Acabat el desembre, el quadre és exposat al Saló de maig de 1831. Sembla nascut d’un sol cop, però es deriva dels estudis fets per a les obres filohel·lenistes i d’una recerca nova de detalls i d’actituds.

És l’assalt final. La multitud convergeix cap a l’espectador, en un núvol de pols, blandant les armes. Salta les barricades i esclata en el camp advers. Al seu cap, quatre personatges dempeus, en el centre una dona. Deessa mítica, els porta a la Llibertat. Als seus peus soldats jacents.

L’acció s’eleva en piràmide, segons dos plans: figures horitzontals a la base i verticals, a primer pla que formen com un relleu sobre el fons borrós. La imatge es transforma en monument. La pinzellada i el ritme impetuós són continguts, equilibrats. Delacroix reuneix accessoris i símbols, història i ficció, realitat i al·legoria.

Vernet_Arcole

Emile Vernet: Le Bataille Du Pont D Arcole, 1826. Oli sobre tela. 260 x 194 cm. Col. privada.

La llibertat

Observant l’obra d’Emile Vernet, Le Bataille Du Pont D Arcole, 1826, és fàcil adonar-se que aquí es dóna una visió nova de l’al·legoria de la Llibertat, és una noia del poble, viva i fogosa, que encarna la revolta i la victòria. Coberta amb el barret frigi, els flocs que floten sobre el clatell, evoca la Revolució de 1789, els sans-culottes i la sobirania del poble. La bandera, símbol de lluita, que forma una unitat amb el seu braç dret, es desplega ondulant cap al darrere, blau, blanc, vermell. De la foscor al lluminós, com una flama.

La pilositat de la seva aixella ha estat jutjada vulgar, ja que la pell havia de ser llisa als ulls dels retòrics de la pintura. A alguns dels contemporanis la Llibertat els va semblar només una robusta plebea −bronzejada, amb els peus descalços i mancada de tota modèstia− que amb absoluta naturalitat s’havia llençat a la lluita. De fet, en bona mesura és aquest caràcter el que la insereix en l’enumeració sociològica de tipus masculins lliurats al combat que l’envolten, on entre vius i morts es troben representades totes les edats i classes. Ella recorda certes coloristes descripcions contemporànies de treballadores que s’unien als seus compatriotes a les barricades. Si fos una mica més idealitzada, més evidentment part de l’ordre simbòlic, el quadre resultaria una curiosa juxtaposició de reportatge i acompanyament al·legòric arbitrari. El seu vestit groc, el doble cinturó del qual flota en el vent, cau per sota dels pits i recorda els drapats antics. La nuesa realça el realisme eròtic i l’associa a les victòries alades. El perfil és grec, el nas dret, la boca generosa, el mentó delicat, la mirada ardent. Dona excepcional entre els homes, determinada i noble, gira el cap cap a ells, els porta cap a la victòria final. El cos perfilat és il·luminat des de la dreta. El seu flanc dret fosc destaca sobre el fons fumejant. Recolzada sobre el seu peu esquerre nu que sobresurt del seu vestit, el foc de l’acció la transfigura. L’al·legoria és la vertadera protagonista del combat. El fusell que manté a la mà esquerra la converteix en real, actual i moderna.

Els nens de París

S’han enrolat espontàniament en el combat. L’un d’ells, à l’esquerra, agafat a les llambordes, els ulls dilatats, porta la gorra de policia dels tiradors de la guàrdia. A la dreta, davant la Llibertat, hi trobem un noi. Símbol de la joventut revoltada per la injustícia i del sacrifici per les nobles causes, evoca, amb la seva boina de vellut negre d’estudiant, el personatge de Gavroche que trobarem en Els Miserables trenta anys més tard. La cartutxera, massa gran, en bandolera, les pistoles de cavalleria a les mans, avança de cara, el peu dret endavant, el braç aixecat, un crit de guerra a la boca. Exhorta al combat als insurgents.

L’home de la boina

Porta l’escarapel·la blanca dels monàrquics i el nus de cinta vermella dels liberals. És un obrer amb una banderola porta-sabre i un sabre de les companyies d’elit d’infanteria, model 1816, o espasa curta. El vestit −davantal i pantaló llarg− és el d’un manufacturer.

L’home amb barret de copa, de genolls

És un burgès o un ciutadà a la moda? El pantaló ample i la cintura de franel·la vermella són els d’un artesà. L’arma, trabuc de dos canons paral·lels, és una arma de caça. Té la cara de Delacroix o d’un dels seus amics?

L’home del mocador lligat sobre el cap

Amb la seva brusa blava i la seva cintura de franel·la vermella de pagès, treballa com a temporer a París. Sagna sobre la llamborda. Es redreça a la vista de la Llibertat. L’armilla blava, el xal vermell i la seva camisa responen als colors de la bandera.

Els soldats

A primer pla, a l’esquerra, el cadàver d’un home despullat del seu pantaló, els braços estesos i la túnica arremangada. És, amb la Llibertat, la segona figura mítica treta d’una acadèmia de taller.

A la dreta, d’esquena, el cadàver d’un suís, en roba de campanya: capota gris-blava, decoració vermella al coll, polaines blanques, sabates baixes, xacó al terra. L’altre, la cara contra terra, té la xarretera blanca d’un cuirasser.

En el fons, els estudiants i un destacament de granaders en roba de campanya i capota grisa.

El paisatge

Les torres de Notre-Dame, símbol de la llibertat i del romanticisme com en Victor Hugo, situen l’acció a París. La seva orientació sobre la riba esquerra del Sena és inexacta. Les cases entre la catedral i el Sena són imaginàries.

Les barricades, símbols del combat, diferencien els nivells del primer pla a la dreta. La catedral sembla llunyana i petita respecte a les figures.

La llum del sol ponent es barreja amb el fum dels canons. Revelant el moviment barroc dels cossos, esclata en el fons a la dreta i serveix d’aura a la Llibertat, al nen i a la bandera.

El color unifica el quadre. Els blaus, blancs i vermells tenen contrapunts. Les bandoleres paral·leles del corretjam blanc responen al blanc de les polaines i de la camisa del cadàver de l’esquerra. La tonalitat grisa exalta el vermell de l’estendard. El quadre glorifica el poble ciutadà “noble, bell i gran”. Històric i polític, testimonia l’últim sobresalt de l’Antic Règim i simbolitza la Llibertat i la revolució pictòrica. Realista i innovador, el quadre va ser rebutjat per la crítica, acostumada a veure celebrar la realitat per conceptes. El règim de Louis-Philippe l’adveniment del qual saludava, el va amagar al públic.

És una de les poques obres en què Delacroix abandona els temes literaris i recorre a l’esdeveniment contemporani. L’any 1830, la Revolució de Juliol posà fi al govern dels Borbons a França i obri pas a una monarquia constitucional sota Lluís Felip d’Orleans. En unes línies adreçades al seu germà el mes d’octubre d’aquell mateix any, Delacroix escrivia: “He començat un tema modern, una barricada (…) i si no he lluitat per la pàtria si més no pintaré per a ella (…)”. Tot, i que la frase deixa entreveure certa justificació  davant la seva passivitat envers els esdeveniments polítics del seu país, amb La llibertat guiant el poble donarà testimoniatge, però, de la seva adhesió als ideals de llibertat i justícia d’aquells anys.

Malgrat el fet d’haver estat adquirida per l’Estat, la composició fou considerada “pamfletària” per aquest, i durant anys únicament fou esporàdicament exposada i només a partir del 1861 pogué contemplar-se regularment.

Per a Delacroix, mestre de l’”escola romàntica”, la història no és exemple ni guia dels actes humans; és un drama que va començar amb la humanitat i perdura en el present. La història contemporània és lluita política per la llibertat. “La llibertat guiant el poble” és el primer quadre polític de la història de la pintura moderna: exalça la insurrecció que, al juliol de 1830, posà fi al terror blanc de la restaurada monarquia borbònica.

La política de Delacroix i, en general, dels romàntics, no és clara; lluita contra l’intent de restablir els privilegis feudals com si la Revolució no hagués esdevingut, però comprèn que noves formes revolucionàries estan madurant a la societat. Revolucionari el 1830, Delacroix esdevé contrarevolucionari el 1848, quan la classe obrera s’aixeca contra la burgesia capitalista que l’explota. Com tots els romàntics es declara antiburgès; de fet, arremet només contra la petita burgesia per la seva curtedat de mires, la seva mediocre cultura, el seu mal gust, i el seu amor per la vida reposada; mentrestant, sovinteja els salons i frueix dels favors de les altes finances burgeses. Al quadre que exalçà aquells dies de juliol hi ha un entusiasme sincer i un significat polític ambigu. Per a Delacroix i, en general, per a tots els romàntics, la llibertat és la independència nacional (així ho demostra en altres obres, com ara La Matança de Quíos (1824) i  Grècia sobre les runes de Missolonghi (1827)). En aquest quadre del 1830, la dona que fa onejar la bandera tricolor sobre les barricades és, alhora, la llibertat i França. I qui lluita per la llibertat? Gent del poble i intel·lectuals burgesos; en nom de la llibertat i de la pàtria se segella la  unión sacrée dels descamisats del poble amb als senyors del barret de copa.

No és un quadre històric, no representa un fet ni una situació. No és un quadre al·legòric; al·legòric només té la figura de la Llibertat-Pàtria. És un quadre realista que culmina amb un colofó retòric (com s’esdevé molt sovint en la prosa de Víctor Hugo). Fins i tot la figura al·legòrica és una barreja de realisme i retòrica, una figura “ideal” que, per a aquesta ocasió, s’ha vestit amb els parracs de la gent del poble i que, en lloc de l’espasa simbòlica, empunya un fusell reglamentari.

Pel que fa a la composició, és fàcil remuntar-se a la font: El rai de la Medusa de Géricault. Igual que el rai, el pla de la base és inestable, fet de bigues separades (la barricada); d’aquesta inestabilitat neix i es desenvolupa in crescendo el moviment de la composició. Igual que el rai, les figures formen una massa que puja, que culmina en una figura que agita alguna cosa, en Géricault un drap, aquí una bandera. Igual que el rai, en primer pla hi ha els morts caiguts cap endarrera, semblants fins en les seves postures, Coincideixen, fins i tot, alguns detalls atroçment realistes: el pubis al descobert d’un cadàver, la mitja caiguda sobre el peu d’un altre, la macabra i emotiva crida de les polaines blanques als peus del soldat mort. És també idèntica la forma de sostenir i subratllar el gest culminant acompanyant-lo, a dreta i esquerra, amb el braç aixecat d’altres dues figures.

Gericault_Delacroix_composicio

Vistes les analogies, passem a las diferències. Delacroix inverteix l’esquema compositiu del rai. Inverteix la posició dels dos morts del primer pla i també la direcció del moviment de les masses, que al rai va de davant cap enrera i a la llibertat ve cap endavant. Per què aquest canvi en la direcció del moviment? El moviment de darrera cap endavant respon, en primer lloc, a una necessitat retòrica: la llibertat es llança envers l’espectador, l’agafa cara a cara i li adreça un discurs excitat. Però també té una altra funció: si al quadre de Géricault el moviment de les masses cap a l’horitzó obrava una mena de catarsi i si a partir de la violència realista s’assolien accents de grandesa clàssica (per exemple, el vell i el cadàver del seu fill), el quadre de Delacroix desapareix tot el que era profundament clàssic. Ja no existeix el luminisme caravaggià sobre els cossos fortament modelats, quasi com si fossin de bronze, sinó un perfilament de les figures a contrallum sobre un fons encès i fumejant; ja no trobem la unió d’aquells cossos entrellaçats sinó un aïllament de les figures principals entre la confusa formació de les altres. I de la duresa ofensiva de les notes realistes no s’ascendeix a una solemnitat clàssica sinó que es baixa a la caracterització social de les figures per demostrar que nois, joves, adults, obrers, camperols, intel·lectuals, soldats legitimistes i rebels són parts del poble i que la bandera tricolor els agermana a tots.

Durant el primer quart del segle XIX la crisi en el classicisme era també evident en altres cultures nacionals. A Espanya i Anglaterra (estats en els quals l’atracció per l’antiguitat mai havia estat tan potent com a França), Francisco de Goya i William Blake entre altres varen oposar diferents mites unificadors a l’herència de Grècia i Roma. En el cas de Goya, la retòrica principalment utilitzada fou el “majismo”, un estil i una tradició subculturals pròpies del poble espanyol; en el cas de Blake fou el mil·lenarisme de les sectes radicals angleses. Les contribucions d’aquests dos artistes al que sembla haver estat un ampli moviment occidental d’inconformisme i insurgència política −el romanticisme− han d’estudiar-se monogràficament.

Joan Campàs     Aura digital

1. Una visita al museu del Louvre
2. Ieoh Ming Pei: La piràmide del Louvre
3. Leonardo da Vinci: La Gioconda

4. L’hermafrodita adormit del Louvre
5. La funció de l’androgínia a través de les pintures del Louvre
6. Jacques-Louis David: El jurament dels Horacis
7. Jean-Germain Drouais: L’atleta agonitzant
8. David: Els líctors retornant a Brutus els cossos dels seus fills
9. Jean-Germain Drouais: Màrius presoner a Minturnes
10. Girodet: El somni d’Endimió
11. David i la mort revolucionària: Lepeletier, Marat, Bara
12. Imatges de la reacció thermidoriana: les Sabines de David
13. Imatges del Consolat: Madame Récamier de David i Els ambaixadors d’Agamèmnon d’Ingres

14. El classicisme sota Napoleó: Gros, Girodet, Prud’hon, Ingres, David
15. Cap el romanticisme: Ingres, Gros, Prud’hon, Girodet, Guérin, Géricault, David
16. Théodore Géricault: El rai de la Medusa

Dossier: Del Rococó al Romanticisme a través del Louvre. Materials de treball

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  65. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

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  104. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  105. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  106. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  107. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  108. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  109. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  110. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

  111. This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like ‘Mixview’ that let you quickly see related albums, songs, or other users related to what you’re listening to. Clicking on one of those will center on that item, and another set of “neighbors” will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune “Social” is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

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  159. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  160. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

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  168. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  169. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  170. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  171. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  172. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  173. If you’re still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you’ll know which is right for you.

  174. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

  175. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

  176. Hands down, Apple’s app store wins by a mile. It’s a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I’m not sure I’d want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

  177. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

  178. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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  200. Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It’s very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

  201. Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass’ favor.

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  206. I’ll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

  207. Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are.

  208. Sorry for the huge review, but I’m really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it’s the right choice for you.

  209. The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it’ll do even better in those areas, but for now it’s a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod’s strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

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