Art

Introducció a la Història de l’Art

Kreger_Why_are_you_here1

Barbara Kruger: Why are you here?, 1991. Fotografia i tipografia sobre paper. 15,2 x 11,4 cm.

Imaginem-nos aquesta imatge de Barbara Kruger a l’entrada de qualsevol museu o galeria d’art (estava instal·lada al vestíbul inferior del Wexner Center for the Arts, a l’Ohio State University: Kruger hi va ser artista resident el 1995 i el1996). Recorda El crit de Munch, i ens pregunta: Per què estàs aquí? I ens demana: Per a matar el temps? Per a cultivar-te? Per a ampliar el teu món? Per a tenir bons pensaments? Per a millorar la teva vida social?

En aquesta Introducció a la Història de l’Art del nou Grau d’Història, Geografia i Història de l’Art volem respondre, entre altres, la següent qüestió: què fer davant d’una obra d’art?, per tal que al final de l’assignatura, probablement, es puguin respondre les preguntes que ens formula Barbara Kruger.

1. M’agrada aquest quadre

Imaginem-nos una parella que surt d’excursió. Ella geòloga, ell filòleg. En contemplar el paisatge ell exclama: Fantàstic! M’encanta! Em fa sentir lliure! Em comunica una sensació de pau i harmonia… Ella li explica que les ondulacions són causades pels moviments orogenètics i que els diferents tons de verd són deguts a les diferències de sòl que condicionen el tipus de vegetació… Ell es limita a «mirar», a sentir les sensacions que li produeix i acaba afirmant: m’agrada. I pensa: Tot és subjectiu.

Ella també «mira», però sap el significat del què hi veu, ho comprèn. Es posiciona davant del paisatge per corroborar algunes hipòtesis explicatives o plantejar-se qüestions. Parla del paisatge, no d’ella. I això té poc de subjectiu. Però, és que també li agrada, i en això és igual de subjectiva com ell.

mirant_Gioconda

Museu del Louvre. Visitants davant el quadre de La Gioconda de Leonardo da Vinci. Fotografia del 2 de setembre del 2008

Podem, doncs, anar a un museu i davant d’un quadre podem adoptar la postura d’ell o la d’ella. Les dues són vàlides. La primera parla més d’ell i no tant de l’obra; la segona parla de l’obra i, també, d’ella. Però per a fer com ella cal haver estudiat història de l’art, cal, a més de mirar, comprendre i interpretar, conèixer els codis i els problemes que s’hi plantegen, qui ho ha finançat i per què, com ho ha resolt l’artista, quina història explica, quins significats genera…

2. De l’emoció a la comprensió

Si la funció de l’art fos provocar emocions, a qui provocaven les pintures de les tombes egípcies, de les catacumbes cristianes, de les pintures emmagatzemades als palaus dels reis i nobles? Abans del turisme de masses, abans de l’existència de museus –segle XVIII–, quanta gent havia vist la majoria de pintures (excepte  les que estaven a les esglésies) i escultures, tapissos,  capitells…? A qui emocionaven o provocaven?

Chardin_Rajada

Jean-Baptiste-Siméon Chardin: La Raie (La rajada), 1728. Oli sobre tela. 114 x 146 cm. Museu del Louvre, París.

Imaginem-nos un quadre amb fruites, una gerra, un gat, un ganivet (un bodegó o natura morta). Si només «mirem» podrem dir: què ben fet que està! Sembla tot tan real! I passarem al següent i no haurem après gran cosa ni ens haurà plantejat cap interrogant. Reconeixem el que hi ha, però entenem el quadre? Per què un pintor del segle XVII o XVIII es posava a pintar natures mortes? No tenia res més a fer o no tenia res més a mà? Només es tractava de fer una obra ben feta, ben realista?

Resulta que les natures mortes tenien una càrrega moral i religiosa: simbolitzaven la fragilitat de la vida humana, la vacuïtat de les coses materials, i ens recordaven que tot es marceix, que tot passa, malgrat durant uns instants tingui un aspecte radiant. Era un recordatori que som mortals. I tot plegat formava part dels ideals i valors de la burgesia i l’ètica protestant.

Hem passat de «mirar» a «comprendre», a tenir en compte el context, el moment històric, la classe social…

3. De la comprensió a la interpretació

Però no podem analitzar, valorar i criticar una obra d’un moment determinat amb els mateixos paràmetres que serveixen per un altre moment. Per això no té massa sentit parlar de «característiques generals» d’una època o estil. Òbviament, si apliquem a Picasso els mateixos conceptes i mètodes d’anàlisis que a Velázquez, ni entendrem a Picasso ni a Velázquez.

Malevitx_Quadrat

Kazimir Malèvitx: Quadrat negre, 1915. Oli sobre tela. 106,2 × 106,5 cm. Museu Estatal Rus, Sant Petersburg.

Imaginem que ens trobem davant d’un quadre abstracte. Fa 100 x 100 cm i és tot de color negre. De seguida el tenim vist. I en funció del nostre estat d’ànim o de com de cansats estem de recórrer el museu ens donarà la sensació de buit, de mort, d’angoixa…, o si estem alegres i divertits hi veurem una colla de gats negres dins d’una cova fosca en una nit d’estiu sense lluna. Però això ens diu com estem nosaltres. I el quadre, de què parla, quina història explica, quins poden ser els seus significats?

Resulta que el negre és la manca de llum, i sense llum no hi ha color i, per tant, no hi ha pintura. És la negació de tots els valors pictòrics, un retorn al punt zero; i el quadrat és una forma simple geomètrica, que no existeix en la realitat i, per tant, trenca la idea de l’art com a representació, com a còpia. És de fet, una utopia: si es vol construir una nova societat cal partir de zero, cal crear un nou llenguatge per a un nou ordre social. No ens haurà d’estranyar, doncs, que un quadre així fos pintat el 1915 al mig de les revolucions soviètiques de 1905 i 1917.

4. La interrelació tècnica-interpretació

La tècnica que s’utilitza per a pintar un quadre, o esculpir un marbre, quina relació té amb el significat de l’obra? O ens pensem que un pintor pinta com pinta perquè és l’única manera que sap de pintar, i que el seu “estil” no té res a veure amb el significat que vol transmetre? En definitiva: les coses són com són perquè no se saben fer d’una altra manera, o són com són perquè és la millor manera de comunicar un determinat contingut?

Goya_gallina_cega

Goya: La gallina ciega, 1788. Oli sobre tela. 269 x 350 cm. Museo del Prado, Madrid.

Goya_aquelarre

Goya: El aquelarre, 1797-98. Oli sobre tela. 43,3 x 30,5 cm. Museo Lázaro Galdiano

Goya_familia

Goya: La familia de Carlos IV, 1801. Oli sobre tela. 280 x 335,9 cm. Museo del Prado, Madrid.

Goya_dos_viejos

Goya: Dos viejos comiendo sopa, 1819-1823. Oli sobre paret traslladat a tela. 49,3 x 83,4 cm. Museo del Prado, Madrid

Pensem en l’obra de Goya. Quin és el seu estil? Depèn de qui paga! Rococó quan és l’aristocràcia cortesana, neoclàssic quan és la burgesia il·lustrada, romàntic a l’inici de la revolució burgesa… És a dir, fa servir la tècnica que millor li serveix per a transmetre el contingut que vol el comitent. La tècnica no és, doncs, un afegit, una eina, un instrument al servei de, sinó que forma part indestriable del contingut. D’aquí l’interès a estudiar-la.

absis_Climent_TaullMestre de Taüll: Crist en majestat. Absis central de sant Climent de Taüll, 1ª meitat segle XII.

Crist_Taull

Imaginem-nos que estem a l’interior d’una església romànica a l’absis de la qual hi ha un gran fresc. Observem les imatges: rígides, frontals, hieràtiques, estàtiques. És un món ordenat per forces superiors, davant les quals l’ésser humà se sent dèbil i desvalgut. Per això necessita la protecció de les parets gruixudes de l’església. I la tècnica amb la que estan pintades –el fresc– referma aquesta idea d’immobilitat, de permanència, d’ordre immutable entre el bé i el mal, de submissió al senyor feudal. Per això quan es desenvolupa el comerç per Europa apareix una nova tècnica –la pintura a l’oli– que permet fer un tipus d’obres transportables, movibles, dinàmiques com la nova societat i la nova classe dirigent.

5. L’art al servei del poder

La visió esteticista i formalista de l’art parla de bellesa, inspiració, creativitat, sensibilitat, proporció, ritme… i deixa de banda al contingut, al client que finança l’obra,  al receptor a qui anava dirigida, a l’ús de l’art per part del poder (sigui polític o religiós).  Els museus són un molt bon lloc per a reconstruir, visualment, els sistemes de poder de les diferents classes socials dominants, i com, a través de l’art, creaven un imaginari visual adreçat, precisament, a legitimar el seu poder. No hi ha obres neutres; no hi ha obres que no mostrin la ideologia patriarcal subjacent. Un museu ens parla dels mecanismes que s’han utilitzat al llarg dels segles per a crear subjectivitats d’acceptació del poder establert; els estils han anat canviant seguint els canvis d’aquest poder.

gentile1

Gentile da Fabriano (c. 1370 – c. 1427): Adoració dels mags, 1423. Tremp sobre fusta. 301,5 x 283 cm. Plafó central 173 x 288 cm. Galleria degli Uffizi, Florència. Encàrrec: Palla Strozzi.monaco3

Masaccio: Adoració dels reis, 1426. Tremp sobre taula. 321 x 61 cm. Staatliche Museum, Berlín

Comparem aquestes dues Adoracions, que es porten només 3 anys i les dues fetes a Florència. La primera parla del comitent, l’home més ric de Florència, pel marc gotitzant, l’ús massiu de pa d’or, la quantitat de personatges, la forma de seguici del grup, el vestuari dels reis, la presència d’animals exòtics i l’ambient de cacera cavalleresca, les dues dames d’honor de la marededéu…; la segona presenta  pocs personatges, amb vestits  severs i poc ornamentats, i una cova que és un cobert quadrat en la penombra. L’única concessió a la «noblesa» del tema i l’única cita llatina és la «sella curulis» sobre la que està asseguda la Marededéu, però, potser per a indicar que no existeixen coses nobles i coses vils, apareix al seu costat, i amb evident analogia formal, la sella de l’ase. Res, ni en les figures ni en el paisatge, al·ludeix a la bellesa de la creació i als dons de la Providència: el sentit del que és diví no està en les coses sinó en l’intel·lecte del qui les veu.

Però, dins del museu tenim un problema. Deixant de banda els museus d’art contemporani, a la resta hi trobem obres que no estaven fetes per estar en un museu. Una marededéu o un sant sopar eren imatges devocionals a les que es resava; un retrat d’un monarca penjava de la sala on es rebien els ambaixadors; un paisatge holandès adornava la sala noble d’un terratinent. Què ha fet el museu? Ha convertit obres amb una clar significat i funció polítics o religiosos en… «obres d’art», trencant la relació que tenien amb el seu context: les ha buidat de contingut i, per tant, només els queda la «forma», propiciant, d’aquesta manera, una «mirada estètica», pervertint tota visió crítica del passat: fins i tot davant dels Desastres de la guerra de Goya hom hi veu bellesa!

En el fons, un museu no és més que una institució legitimadora de sistemes de poder i creadora d’una determinada memòria: la que ha interessat conservar al propi poder. Entrar a un museu és fer una immersió en la història feta imatges. Si en sortim igual que hem entrat vol dir que hem adoptat l’actitud del filòleg de l’inici. És, òbviament, una opció. En aquesta assignatura en treballarem d’altres.

6. L’artista com a marca

Hirst_StalinDamien Hirst: Stalin, signat, datat 2006 i consignat per AA Gill al revers. Esmalt domèstic i oli sobre tela. 137.5 x 118.3cm.

Per a il·lustrar la idea que un artista reconegut en el fons no és més que una marca comercial, expliquem la següent història: A. A. Gill, un important escriptor i crític de restaurants del Sunday Times, posseïa un antic retrat de Joseph Stalin d’autor desconegut, del qual deia que «solia estar penjat sobre el meu escriptori com una ajuda per al treball dur» i pel qual havia pagat 200 lliures. El febrer del 2007, Gill el va oferir a Christie’s per a la seva venda en una subhasta d’entre setmana. La casa de subhastes el va rebutjar, amb el pretext que no tractava amb obres de Hitler ni de Stalin.
«I si fos Stalin per Hirst o Warhol?»
«En aquest cas, ens encantaria tenir-lo.»
Gill va demanar a Damien Hirst  que pintés un nas vermell a la cara de Stalin. Hirst ho va fer, afegint la seva firma sota el nas. Amb la firma, Christie’s va acceptar el quadre i va estimar el seu valor en unes 8-12.000 lliures. Disset licitacions més tard, es va rematar a 140.000 lliures. Al cap i a la fi, era un hirst firmat.

art_facilMatthew Higgs: Art isn’t easy, 2008. Impressió sobre paper. 40,6 x 50,8 cm.

Potser algú pugui pensar, com diu aquesta obra, que l’art no és fàcil. Al final de l’assignatura tindreu arguments (a favor o en contra) d’aquesta afirmació. El que sí es pot garantir és que, un cop superada, s’estarà en condicions de respondre aquest altre interrogant:

Platt_aixo_artSteve Platt: Però això és art?, 2009. Performance concebuda per Antony Gormley Fourth Plinth a Trafalgar Square, Londres.

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

340 comments

  1. 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.

  2. 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.

  3. 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.

  4. 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.

  5. 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.

  6. 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.

  7. 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.)

  8. 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.

  9. 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.

  10. 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.

  11. 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.

  12. 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.

  13. 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.

  14. 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.

  15. 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.)

  16. 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.

  17. 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.)

  18. 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.

  19. 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.

  20. 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.)

  21. 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.

  22. 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.

  23. 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.

  24. 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.

  25. 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.)

  26. 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.

  27. 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.

  28. 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.

  29. 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.

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  31. 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.

  32. 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.

  33. 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.

  34. 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.

  35. 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.

  36. 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.

  37. 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.

  38. 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.

  39. 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.

  40. 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.

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