General

Fra Angèlic: Coronació de la marededéu

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Fra Angèlic (c. 1395 – 1455): Coronació de la marededéu, cap el 1435. Tremp sobre fusta. 112 x 114 cm. Galleria degli Uffizi, Florència. Encàrrec: desconegut.

Plantejament de preguntes

Com una pintura religiosa pot conjugar les aportacions de Masaccio amb el transcendentalisme del gòtic? Quina imatge es construeix del dogma des de la fe, i quina des de la raó?

Realment s’ha produït, a nivell mental, un tall profund amb l’època medieval? No seguim de ple immersos en una cultura cristiana que, òbviament, s’adapta als nous temps encapçalats per una classe dominant que ja no és la feudal?

Fitxa tècnica

Les fonts de principis del segle XVI, com l’Anònim Gaddiano[1],  atribueixen l’autoria de la taula al  Beat Angelico. Vasari el recorda com ubicat[2] a l’església de Sant Egidi, que formava part de l’Hospital de Santa Maria Nuova. N’existeixen, també, dos fragments de la predel·la amb els esposoris i la dormició de la marededéu, actualment al museu de san Marc. Va ser executada per a l’hospital de Santa Maria Nuova.

En els anys trenta del segle XV, Fra Angèlic va anar abandonant gradualment la forma típica dels retaules, preferint les taules de forma quadrada o rectangular, més adequades per a la construcció espacial en perspectiva.

Després del seu desmembrament, la taula va arribar als Uffizi el 1825 amb la col·lecció de les obres de l’Hospital. D’aquest moment és el nou marc neoclàssic amb un fris de petxines i palmetes.

Descripció

Sobre un fons d’or abstracte vinculat a la tradició medieval s’estén un paradís en miniatura al centre del qual s’escenifica la coronació de la marededéu per Crist, subratllada pels raigs daurats desplegats en ventall, símbols de la llum divina, obtinguts amb incisions sobre l’or. De fet, es tracta del moment immediatament posterior a la coronació, perquè la marededéu ja porta la corona.

Distribueix i ordena una gran varietat de sants, beats i àngels. A l’esquerra es veu en primer pla sant Egidi, patró de l’església, inspirat probablement en les faccions de l’arquebisbe Antonino Pierozzi, prior del convent de sant Marc, on vivia Fra Angèlic. Li segueix  el bisbe Cenobi, i al seu darrere sant Francesc i sant Domènec. A la dreta, podem reconèixer  a la primera fila a Maria Magdalena agenollada. A la darrera fila s’hi troben  legions d’àngels tocant instruments musicals, entre els quals nombrosos trompetistes que eleven els seus instruments a l’aire, contribuint a la sensació de perspectiva en profunditat.

L’estructura de l’obra i l’ús de colors brillants sobre l’or palesa la influència del seu mestre, Lorenzo Monaco, autor de la Coronació dels Uffizi.

Anàlisis

Aquesta taula és una simfonia cromàtica, feta amb valors purs que es combinen i oposen de manera harmònica, regits per una teoria característica de l’autor que consisteix en l’alternança de gammes blaves i vermelles. Els grups d’àngels, apòstols, sants i profetes reunits al voltant de la figura mariana orquestren aquesta simfonia de color, en la qual s’encasten els ors del fons, de les aurèoles i de les vestidures. Els rostres han estat modelats amb suavíssimes gradacions d’ombra i construïts amb línies de dibuix fines i precises que posseeixen qualitats miniaturístiques en els cabells. El tractament formal d’alguns personatges conserva un deix del gòtic, una mica a la manera de Gentile da Fabriano. Existeix, així mateix, un interès per donar entitat corpòria a les representacions, valorant els volums dels vestits amb un procediment realista.

Podem comprovar com aplica els nous mètodes de Masaccio, però amb la finalitat d’expressar les idees tradicionals de l’art religiós. L’art de la perspectiva no tenia secrets per a ell (com es posa en evidència en els frescos del Monestir de Sant Marc de Florència). Però el seu propòsit no era el de presentar-nos el quadre com una “finestra”, sinó el de representar l’escena religiosa en tota la seva bellesa i simplicitat. Gairebé no hi ha moviment ni suggestió de sòlids cossos reals en la seva pintura. Però és molt més emotiva per la seva humilitat, que és la d’un gran artista que deliberadament renuncia a qualsevol demostració de modernitat.

La postura que adopta Fra Angelico és tradicionalista i eclèctica. Li interessa primordialment utilitzar el mitjà d’expressió plàstic amb finalitat didàctica i apologètica. L’exaltació del dogma el porta a concebre una composició monumental que exalta l’episodi de la coronació mariana.

L’or s’utilitza amb profusió en les indumentàries, el revestiment del tron, el que revela en l’autor una despreocupació per la moda pictòrica del seu temps que, amb el desig de trencar amb la tradició anterior, prescindia d’aquest recurs. El rítmic plegat de les vestidures, ajustat a un esquema simètric, ens fa pensar en reminiscències de l’art medieval.

L’encant dels seus àngels, de les madonnes i dels sants l’han convertit en un dels pintors més populars de la història. I aquest encís no és més que el toc terrenal afegit als Escollits del paradís. La serena dolçor de les seves representacions religioses, els seus sants “que tenen més aspecte de sants que tots els altres”, com ja afirmava Vasari, la gamma tornassolada dels seus colors, permeten un contacte immediat entre l’obra i l’espectador. El seu color no és únicament brillant, sinó que brilla tan intensament que es transforma en la llum del paradís; amb tot, deixa pressentir la llum real de la terra. Posa tanta vida en les seves meravelles que no les podem separar de la terra. La seva ingenuïtat no és la del nen que desperta a la vida, sinó la del monjo que es fortifica contra el món. El secret del seu èxit resideix en la satisfacció que sentia l’espectador en veure als éssers divins tan fidels a l’ortodòxia teològica i, alhora, tan humans.

«… S’ha volgut fer d’ell el pintor místic per excel·lència, l’home que com diu el mateix Vasari tenia per costum “no retocar mai ni corregir cap pintura seva, sinó deixar-les sempre tal com li havien sortit la primera vegada, per creure (segons deia) que aquesta era la voluntat de déu. Diuen alguns que fra Giovanni mai agafava el pinzell sense haver fet abans oració”[3]. Certament, amb les seves obres la més tendra de les poesies s’instal·la en el domini de la pintura, trobant-nos immersos en un regne de candor i benaurança. Ningú ha pintat visions celestials com les de l’Angèlic ni ha sabut omplir les representacions terrestres amb semblant irradiació de la llum divina. La seva religiositat és íntima, profundament sentida i per això mateix fàcilment transmissible. La seva personalitat era, tanmateix, bastant més complexa del que els retrats com el de Vasari fan suposar. Va ser un home culte, al corrent de les tendències ideològiques i culturals de l’època i inserit, com escriu Antal, en un medi en què “el sentiment religiós no era només una qüestió emotiva, sinó també un factor de pes en les combinacions polítiques”. Es comprèn així que Fra Angèlic, la formació del qual havia estat indubtablement gòtica –potser amb Lorenzo Monaco– fos capaç de captar l’abast de la revolució masacciana i dels nous mètodes de representació espacial, incorporant-los a la seva obra. Una pertinaç llegenda ha fet d’ell l’últim dels gòtics; més aviat caldria considerar-lo, com fa Argan, el representant d’un “humanisme religiós “, el primer pintor que intentaria una integració dels valors culturals sorgits del medi racionalista i laic de la Florència del seu temps en l’univers del cristianisme.»[4]

angelic2Ubicació de la Coronació de la Marededéu de Fra Angèlic als Uffizi

Aquesta obra, molt lluminosa per la profusió d’or i pel savi ús de la llum, té una perspectiva remarcada pels núvols que es perden cap al fons. Encercla l’escena de la Coronació, subratllada per l’”explosió” de la gran aurèola daurada, un gran cercle de sants i àngels les trompetes dels quals, que s’entrecreuen, ajuden a l’efecte de perspectiva.

Fra Angèlic fou, sens dubte, un artista religiós, però pregonament conscient dels problemes culturals del seu temps, que no es va limitar a seguir la política del convent dominic de Sant Marc, tendent a orientar en sentit religiós la cultura de l’alta burgesia florentina, sinó que va contribuir a la seva definició. Fou un dels primers a captar el gran abast dels nous corrents artístics i no s’hi va enfrontar, encara que va advertir del perill d’una total secularització de l’art, i va intentar enquadrar-los en la doctrina oficial de l’Església i en la doctrina filosòfica de Sant Tomàs, de la que el seu Orde n’era hereva i guardiana.

Com a religiós, no podia ignorar la crida de Lorenzo Monaco a un ascetisme modern; però pensava que no tothom és asceta, que qui viu en el món s’ha de poder salvar amb l’experiència del món i que l’art pot ajudar-lo a complir bé i religiosament aquesta experiència. Si l’art tendeix a la veritat, tendeix a Déu, i una pintura com la de Lorenzo Monaco podia exhortar a la pregària però no guiar fins el coneixement de Déu. I el coneixement de Déu és la forma d’experiència religiosa a la que cal conduir a una societat tan interessada i àvida per conèixer. Vasari diu que el Beat Angelico estudiava i admirava a Masaccio; no podia tractar-se, certament, d’una adhesió incondicional, però és molt important que el pintor dels dominics, un cop arribat al dilema Gentile-Masaccio, escollís la via de Masaccio, és a dir, la via de l’art-coneixement.

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La pintura de Fra Angèlic és producte d’un esperit místic que considera l’art primordialment com a vehicle d’expressió religiosa. Malgrat que alguna de les obres primerenques d’aquest autor manifesta la influència de Masaccio, en composicions del període de maduresa, com en aquesta Coronació, les qüestions de representació científica de la realitat foren postergades –tot i que no oblidades– en benefici de la idealització del tema.

angelic9Fra Angèlic: Coronació de la Marededéu, 1430-1432. Tremp sobre taula. 209 x 206 cm. Musée du Louvre. París. Encàrrec: potser la família Gaddi.

Comparem la coronació dels Uffizi amb la del Louvre, un retaule pintat, potser per iniciativa de la família Gaddi, per a un dels altars del convent de Sant Domènec a Fiesole a les afores de Florència, on Fra Angelico esdevingué el prior. L’extens estudi de la perspectiva com la solidesa plàstica de les  figures palesen la influència exercida per Masaccio en Fra Angèlic.

El propòsit es realitza sobre una taula que a la part superior presenta un sortint trapezoïdal, que serveix per acollir el baldaquí arquitectònic del tron, on està asseguda la figura divina, amb la Marededéu agenollada davant seu. En aquest nivell, aconseguit per l’escalonament piramidal d’esglaons marmoris de diferents colors, apareix una cohort d’àngels músics; en els plans més  baixos de l’escala hi ha una successió de sants i santes que es tanca en el nivell inferior amb figures agenollades sobre el mosaic de marbre. Cadascun d’aquests personatges ha estat descrit amb precisió, posant de relleu una tècnica preciosista i una gran erudició hagiogràfica.

Basat en textos apòcrifs, el tema de la Coronació de la Marededéu fou àmpliament difós en el segle XIII per la Llegenda Daurada de Jacobo de Voràgine. L’episodi segueix cronològicament a l’Assumpció: la Marededéu es acollida al cel per Crist, que l’eleva per sobre de la multitud dels benaurats. Fra Angelico va presentar nou graons de marbre de diversos colors que porten al tron en què es troba Crist. Agenollats sobre el penúltim graó, el cap lleugerament inclinat, la Marededéu rep la corona de mans del seu fill gloriós. Una cort celestial els envolta, formada per àngels músics i sants, alguns dels quals tenen el seu nom escrit a l’aurèola, mentre que altres són identificables pels seus atributs. A primer pla, d’esquerra a dreta, s’hi pot reconèixer: Sant Lluís de França amb la seva corona flordelisada, Sant Nicolau de Bari, amb la mitra al cap, cobert amb una pesada capa brodada, amb tres boles d’or als seus peus; Santa Magdalena vestida de vermell, els cabells solts portant un got de perfum; Santa Caterina d’Alexandria amb la roda del seu martiri i Santa Agnès sostenint un be contra el seu pit.

Molts sants dominics es reconeixen pel seu vestit blanc amb un mantell negre: Sant Domènec de perfil, sosté un lliri a la mà, i una estrella vermella brilla sobre el seu cap; Sant Pere Màrtir amb el crani ple de sang; Sant Tomàs d’Aquino de genolls, sostenint els seus escrits de teòleg i que mostra l’escena de la Coronació. Res de sorprenent ja que el retaule va ser encarregat per decorar l’església d’un convent dominic, que advocava per una estricta observança de la regla.

A la predel·la es desenvolupen escenes que es relacionen amb els esdeveniments de la vida del fundador de l’orde: El Somni d’Innocenci III, L’Aparició de Sant Pere i Sant Pau a Sant Domènec, La Resurrecció de Napoleone Orsini, Crist a la tomba, la Disputa de Sant Domènec i el miracle del llibre, Sant Domènec i els seus companys alimentats pels àngels, La mort de Sant Domènec.

La composició s’estructura al voltant d’una piràmide el vèrtex de la qual està format pel tron celestial i la base per l’assemblea dels sants agenollats a la part inferior de l’escala. L’espai està construït d’acord a les lleis de la perspectiva lineal. Les línies de fuga del paviment convergeixen en un punt per sobre del vas de la Magdalena. Els personatges es distribueixen en aquest espai coherent de manera que tots siguin visibles. El volum escultòric dels cossos la monumentalitat dels quals es veu accentuada pel baix punt de vista recorda les obres de Masaccio que Fra Angelico havia vist a Florència, però a diferència d’aquest últim, no pinta una arquitectura inspirada en les formes del Renaixement, sinó un edicle de formes gòtiques; el modelat delicat de les cares recorda el d’un  Gentile da Fabriano, prop del qual el monjo-pintor es podria haver format, i pels colors, la paleta de Lorenzo Mònaco.

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Giovanni da Fiesole o Fra Angèlic: Tabernacle dels Linaioli, 1433. Tremp sobre taula. 260 x 330 cm. Museu de sant Marc, Florència. Encàrrec: gremi dels Linaioli (llencers)

Aquest tabernacle va ser encarregat per un dels gremis més rics i poderosos. Cal tenir en compte que per al disseny del marc es va fer intervenir a Ghiberti, que ja tenia 55 anys.

«Els caps són volums regulars, traçats sobre el mòdul de l’esfera transparent que el Nen porta a la mà. La forma geomètrica. És, certament, la més perfecta que l’intel·lecte humà pugui pensar, i, per tant, la més propera a la forma que Déu ha donat al món en crear-lo; com a tal, és també la que millor s’associa amb la substància amb la que Deu omple l’espai del món, la llum. Com a forma ideal que supera el caràcter físic i opac de la matèria, la forma geomètrica és l’única que no oposa un obstacle a la llum, que fins i tot se’n satura, esdevé la forma mateixa de la llum. Per la resta, si (com deia Brunelleschi) l’espai és forma geomètrica i la llum divina (com deia sant Tomàs) omple l’espai, com negar que la forma geomètrica és la forma de la llum?. Al voltant de la Marededéu, fins quasi tancar-la en un reliquiari, s’estenen robes precioses teixides en or. Pot ser una al·lusió al gremi d’industrials tèxtils que va encarregar la taula; però alhora aquestes robes daurades reflecteixen la llum intensificada i vibrant sobre les figures. El blau del mantell assoleix així una increïble altura i puresa de timbre; els caps i les mans, transparents, quasi no tenen obres. Per tant, el color no és ja la fràgil i enganyosa aparença que revesteix i amaga la substància de les coses; identificant-se amb la llum, la matèria acolorida es sublima en llum, en substància espacial. També Angèlic està convençut que cal atenir-se a allò que es veu: la seva tesi teològica és que, en els aspectes de les coses creades, el signe del Creador no s’amaga sinó que brilla. Per a veure-ho, cal mirar el món amb ulls purs, no estimar la cosa per la cosa sinó pel que significa o revela, no tenir la vista ofuscada pel “fum” de les passions terrenals.»[5]

I això, la burgesia florentina ho podia entendre.

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Fra Angèlic: Coronació de la Marededéu, 1440-1441. Fresc. 171 x 151 cm. Convent de Sant Marc, Florència

La Coronació de Maria és un dels temes més desenvolupats dins de la iconografia de Fra Angelico. Però si en altres representacions primava l’opulència de l’esdeveniment, amb enorme utilització del fons d’or i de motius decoratius de tot tipus, aquest fresc de Sant Marc es presenta de forma molt més lleugera, però amb l’element de la llum com a gran component de l’episodi diví de la Coronació de la Marededéu. Maria i Jesucrist se situen en l’àmbit celestial, envoltats d’una aurèola de color verdós molt difuminat. Les figures, vestides amb túniques de color blanc, se situen sobre un banc i un escambell de núvols, cosa que accentua el caràcter sobrenatural on té lloc l’esdeveniment. Tot el conjunt queda recorregut per un fort sentit evanescent i irreal, configurat per la forta lluminositat de l’escena. Els colors també ajuden al caràcter vaporós de la representació, predominant suaus colors blancs i grocs.

A la part terrenal, a sota, un grup de sants es disposa en semicercle, seguint la línia compositiva del succés de dalt. Sant Benet, Sant Tomàs d’Aquino i Santo Domènec, a l’esquerra, Sant Pere Màrtir, Sant Marc i Sant Francesc, a la dreta, contemplen en actitud de reverència l’escena de la Coronació de Maria. Les vestidures i les reverberacions de la llum, que els arriba per la dreta, confereixen corporeïtat a les figures que, materialitzades i molt més vives de color, els situa en el pla terrenal, molt diferent a la caracterització de l’esdeveniment de la Coronació.

Bibliografía

Antal, Frederick (1989). El mundo florentino y su ambiente social . Madrid. Alianza Editorial. Col. Alianza forma, 82. 552 p.

Argan, Giulio Carlo (1987). Renacimiento y Barroco. I. De Giotto a Leonardo da Vinci. Madrid. Akal. 412 pàgs.

Argan, Giulio Carlo (1968). Fra Angélico : estudio biográfico y crítico. Barcelona. Carroggio. 128 pàgs.

Baldini, Umberto (1972). La obra pictórica completa de Fra Angelico. Barcelona. Noguer ed. 120 pàgs.

Boskovits, Miklós (2007). Pasionario púrpura de Fra Angélico. Valencia. Patrimonio ed. 300 pàgs.

Cole Ahl, Diane (2008). Fra Angelico. Nova York. Phaidon press. 240 pàgs.

Errera, Isabelle (1920-1921).  Répertoire des peintures datées. Brussel·les. G. Van Oest & Cie. 2 vols. 920 pàgs.

Spike, John T. (1997). Fra angelico. Nova York. Abbeville Press. 280 pàgs.

Fra Angelico et les maîtres de la lumière – Musée Jacquemart-André 2012 http://www.youtube.com/watch?v=E1PfCrbeTE8

Beato Angelico – Pala di Annalena http://www.youtube.com/watch?v=SfSh4Gkq8r0&feature=related

Beato Angelico, pittore di transizione http://www.youtube.com/watch?v=Us3u5VJ4Ayw&feature=related

La anunciación – Fra Angélico  http://www.youtube.com/watch?v=A8s1uajDfpw&feature=fvwrel

Le Couronnement de la Vierge (Louvre) de Fra Angelico http://www.youtube.com/watch?v=yUCgnP4lWBU&feature=fvwrel


[1] L’Anònim Gaddiano o Magliabechià és un manuscrit que es conserva a la Biblioteca Nacional Central de Florència, d’una obra escrita en italià per un autor desconegut (les hipòtesis apunten que podria ser Bernado Vecchietti, un polític influent de la cort de Cosme I), que conté les biografies de moderns artistes italians. El manuscrit pertanyia a la família Gaddi i d’aquí el nom d’Anonimo Gaddiano

La primera part està dedicada als artistes de la Grècia antiga, i repeteix la història de l’art dels llibres XXXIII a XXXVII de la Història Natural de Plini el Vell.
La segona part està dedicada als artistes moderns del segle XIII a la primera meitat del segle XVI, principalment florentins. És el document més complet sobre aquest tema abans de l’edició de les Vite (1550) de Giorgio Vasari.

[2] La situava a la paret divisòria (“tramezzo”) de la mateixa església.

[3] Giorgio Vasari (2002). Las vidas de los más excelentes arquitectos, pintores y escultores italianos desde Cimabue a nuestros tiempos. Madrid. Cátedra. (Col. Grandes Temas). 2ª ed. pàg. 309

[4] Alvarez Lopera, José, y Pita Andrade, José Manuel (1991). La Pintura: de la Prehistoria a Goya. Tomo 5 de la Historia del Arte. Barcelona. Carroggio S.A. de Ediciones. Pàg. 98 i ss.

[5] Argan, Giulio Carlo (1987). Renacimiento y Barroco. I. De Giotto a Leonardo da Vinci. Madrid. Akal. pàg. 172-173.

Dr. Joan Campàs Montaner
jcampas@uoc.edu        Aura digital
Estudis d’Arts i Humanitats de la UOC

Materials del Curs L’art dels museus: els Uffizi
1. Desconstruint alguns mites del Renaixement
2. Les corts italianes: el context històric del Renaixement italià
3. Milà i el Renaixement: dels Visconti als Sforza
4. L’Urbino de Federico de Montefeltro
5. La Ferrara dels Este
6. La Màntua dels Gonzaga
7. El regne de Nàpols d’Alfons I
8. La Venècia dels dogo
9. Forència en el Renaixement: bases polítiques i econòmiques

10. Florència en el Renaixement: política i mecenatge
11. Els Mèdici, senyors de Florència
12. Giorgio Vasari: els Uffizi, 1560-1581
13. Maestro della Sant’Agata: Madonna de Pisa
14. Cimabue: Maestà di santa Trinità
15. Duccio: Palla Rucellai
16. Giotto: Madonna Ognissanti
17. Simone Martini: L’Anunciació
18. Gentile da Fabriano: Adoració dels mags
19. Lorenzo Monaco: La coronació de la marededéu
20. Fra Angèlic: Coronació de la marededéu
21. Paolo Uccello: La batalla de san Romano
22. Domenico Veneziano: Sacra conversazione
23. Piero della Francesca: Díptic del duc d’Urbino
24. Filippo Lippi: Coronació de la marededéu
25. Hugo van der Goes: Tríptic Portinari
26. Sandro Botticelli: Judit
27. Sandro Botticelli: L’adoració dels mags
28. Sandro Botticelli: La marededéu del magníficat
29. Sandro Botticelli: El naixement de Venus
30. Sandro Botticelli: Al·legoria de la primavera
31. Sandro Botticelli: Minerva i el centaure
32. Sandro Botticelli: L’anunciació Cestello
33. Sandro Botticelli: La calúmnia d’Apel·les
34. Leonardo da Vinci: L’anunciació
35. Leonardo da Vinci: Adoració dels reis
36. Giovanni Bellini: Al·legoria sacra
37. Miquel Àngel: Tondo Doni
38. Rafael: Madonna del cardellino
39. Ticià: La venus d’Urbino

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