Arte

Introducción a la historia del arte

Kreger_Why_are_you_here1
Barbara Kruger: Why are you here?, 1991. Fotografía y tipografía sobre papel. 15,2 x 11,4 cm.

Imaginemos esta imagen de Barbara Kruger a la entrada de cualquier museo o galería de arte (estaba instalada en el vestíbulo inferior del Wexner Center for the Arts, en la Universidad Estatal de Ohio: Kruger fue artista residente en esta universidad entre 1995 y 1996). Recuerda a El grito de Munch, y nos pregunta: ¿Por qué estás aquí? Y nos propone: ¿Para matar el tiempo? ¿Para cultivarte? ¿Para ampliar tu mundo? ¿Para tener buenos pensamientos? ¿Para mejorar tu vida social?

En esta Introducción a la historia del arte del nuevo Grado de Historia, Geografía e Historia del Arte queremos responder, entre otras, a la cuestión «¿Qué hacer ante una obra de arte?», con el propósito de que al final de la asignatura, probablemente, puedan contestarse las preguntas que nos formula Barbara Kruger.

  1. Me gusta este cuadro

Imaginemos a una pareja que sale de excursión. Ella es geóloga; él, filólogo. Al contemplar el paisaje él exclama: « ¡Fantástico! ¡Me encanta! ¡Hace que me sienta libre! Me transmite una sensación de paz y armonía…». Ella le explica que las ondulaciones son causadas por los movimientos orogenéticos y que los diferentes tonos de verde son debidos a las diferencias de suelo que condicionan el tipo de vegetación… Él se limita a «mirar», a sentir las sensaciones que le produce y termina afirmando: «Me gusta». Y piensa: «Todo es subjetivo».

Ella también «mira», pero sabe el significado de lo que ve, lo comprende. Se posiciona ante el paisaje para corroborar algunas hipótesis explicativas o plantearse cuestiones. Habla del paisaje, no de ella. Y esto tiene poco de subjetivo. No obstante, también le gusta, y en eso es igual de subjetiva que él.

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

Podemos, por consiguiente, ir a un museo y adoptar ante un cuadro la postura de él o la de ella. Ambas son válidas. La primera habla más de él y no tanto de la obra; la segunda habla de la obra y, también, de ella. Pero para hacer como ella es necesario haber estudiado historia del arte; es necesario, además de mirar, comprender e interpretar, conocer los códigos y los problemas que se plantean en el lienzo, quién lo ha financiado y por qué, como lo ha resuelto el artista, qué historia cuenta, qué significados genera…

  1. De la emoción a la comprensión

Si la función del arte fuera provocar emociones, ¿a quién se las provocaban las pinturas de las tumbas egipcias, de las catacumbas cristianas, de los cuadros almacenados en los palacios de los reyes y nobles? Antes del turismo de masas, antes de la existencia de museos —siglo xviii—, ¿cuánta gente había visto la mayoría de las pinturas (excepto las que estaban en las iglesias) y las esculturas, los tapices, los capiteles…? ¿A quién emocionaban o provocaban?

Jean-Baptiste-Siméon Chardin: La raya, 1728. Óleo sobre tela. 114 x 146 cm. Museo del Louvre, París.

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

Imaginemos un cuadro con frutas, una jarra, un gato, un cuchillo (un bodegón o naturaleza muerta). Si solo «miramos» podremos decir: « ¡Qué bien hecho que está! ¡Parece todo tan real…!». Y pasaremos al siguiente lienzo y no habremos aprendido gran cosa ni nos habrá planteado ningún interrogante. Reconocemos lo que hay, pero ¿entendemos el cuadro? ¿Por qué un pintor del siglo xvii o xviii se ponía a pintar naturalezas muertas? ¿No tenía nada más que hacer o no tenía nada más a mano? ¿Solo se trataba de hacer una obra bien hecha, muy realista?

Las naturalezas muertas tenían una carga moral y religiosa: simbolizaban la fragilidad de la vida humana, la vacuidad de las cosas materiales, y nos recordaban que todo se marchita, que todo pasa, a pesar de que durante unos instantes tenga un aspecto radiante. Eran un recordatorio de que somos mortales. Y todo ello formaba parte de los ideales y valores de la burguesía y la ética protestante.

Hemos pasado de mirar a comprender, a tener en cuenta el contexto, el momento histórico, la clase social…

  1. De la comprensión a la interpretación

Pero no podemos analizar, valorar y criticar una obra de un momento determinado con los mismos parámetros que sirven para otro momento. Por ello no tiene mucho sentido hablar de características generales de una época o estilo. Obviamente, si aplicamos a Picasso los mismos conceptos y métodos de análisis que a Velázquez, ni entenderemos 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.

Imaginemos que nos encontramos ante un cuadro abstracto. Mide 100 x 100 cm y es todo de color negro. Enseguida lo tenemos visto. Y en función de nuestro estado de ánimo o de cómo estemos de cansados de recorrer el museo, nos dará la sensación de vacío, de muerte, de angustia… Si estamos alegres y divertidos veremos en él un grupo de gatos negros dentro de una cueva oscura en una noche de verano sin luna. Esto nos dice cómo estamos nosotros. Pero y el cuadro, ¿de qué habla, qué historia cuenta, cuáles pueden ser sus significados?

Resulta que el negro es la falta de luz, y sin luz no hay color y, por tanto, no hay pintura. Es la negación de todos los valores pictóricos, un retorno al punto cero; y el cuadrado es una forma simple geométrica, que no existe en la realidad y, por consiguiente, rompe la idea del arte como representación, como copia. Es, de hecho, una utopía: si quiere construirse una nueva sociedad hay que partir de cero, hay que crear un nuevo lenguaje para un nuevo orden social. No debe extrañarnos, pues, que un cuadro así fuera pintado en 1915, en el ínterin de las revoluciones soviéticas de 1905 y 1917.

  1. La interrelación técnica-interpretación

La técnica que se utiliza para pintar un cuadro, o esculpir un mármol, ¿qué relación guarda con el significado de la obra? ¿O creemos que un pintor pinta como pinta porque es la única manera que sabe de hacerlo, y que su estilo no tiene nada que ver con el significado que quiere transmitir? En definitiva: ¿las cosas son como son porque no se saben hacer de otro modo, o son como son porque es la mejor manera de comunicar un determinado contenido?

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

 

Goya_aquelarre
Goya: El aquelarre, 1797-1998. Óleo sobre tela. 43,3 x 30,5 cm. Museo Lázaro Galdiano, Madrid
Goya_familia
Goya: La familia de Carlos IV, 1801. Óleo sobre tela. 280 x 335,9 cm. Museo del Prado, Madrid.
Goya_dos_viejos
Goya: Dos viejos comiendo sopa, 1819-1823. Óleo sobre pared trasladado a tela. 49,3 x 83,4 cm. Museo del Prado, Madrid
absis_Climent_Taull
Maestro de Taüll: Cristo en majestad. Ábside central de Sant Climent de Taüll, primera mitad del siglo xii.

Crist_Taull

Pensemos en la obra de Goya. ¿Cuál es su estilo? ¡Depende de quién paga! Rococó cuando es la aristocracia cortesana, neoclásico cuando es la burguesía ilustrada, romántico en el inicio de la revolución burguesa… Es decir, el artista usa la técnica que mejor le sirve para transmitir el contenido que quiere el comitente. La técnica no es, pues, un añadido, una herramienta, un instrumento al servicio de, sino que forma parte inseparable del contenido. De ahí el interés en estudiarla.

 

Imaginemos que estamos en el interior de una iglesia románica en cuyo ábside hay un gran fresco. Observamos las imágenes: rígidas, frontales, hieráticas, estáticas. Es un mundo ordenado por fuerzas superiores, ante las que el ser humano se siente débil y desvalido. Por ello necesita la protección de las paredes gruesas de la iglesia. Y la técnica con la que están pintadas —el fresco— reafirma esta idea de inmovilidad, de permanencia, de orden inmutable entre el bien y el mal, de sumisión al señor feudal. Por ese motivo, cuando se desarrolla el comercio por Europa aparece una nueva técnica —la pintura al óleo— que permite crear un tipo de obras transportables, movibles, dinámicas como la nueva sociedad y la nueva clase dirigente.

  1. El arte al servicio del poder

La visión esteticista y formalista del arte habla de belleza, inspiración, creatividad, sensibilidad, proporción, ritmo… y deja de lado el contenido, al cliente que financia la obra, al receptor a quien iba dirigida, el uso del arte por parte del poder (sea político o religioso). Los museos son un muy buen lugar para reconstruir, visualmente, los sistemas de poder de las diferentes clases sociales dominantes, y cómo, a través del arte, creaban un imaginario visual dirigido, precisamente, a legitimar su poder. No hay obras neutras; no hay obras que no muestren la ideología patriarcal subyacente. Un museo nos habla de los mecanismos que se han utilizado durante siglos para crear subjetividades de aceptación del poder establecido; los estilos se han ido modificando siguiendo los cambios de este poder.

gentile1
Gentile da Fabriano (c. 1370-c. 1427): Adoración de los Reyes Magos, 1423. Temple sobre tabla. 301,5 x 283 cm. Panel central 173 x 288 cm. Galería Uffizi, Florencia. Encargo: Palla Strozzi.
monaco3
Masaccio: Adoración de los Reyes Magos, 1426. Temple sobre tabla. 321 x 61 cm. Museos Estatales de Berlín, Berlín.

Comparemos estas dos adoraciones, creadas ambas en Florencia con solo tres años de diferencia. La primera habla del comitente, el hombre más rico de Florencia, por el marco gotizante, el uso masivo de pan de oro, la cantidad de personajes, la forma de cortejo del grupo, el vestuario de los reyes, la presencia de animales exóticos y el ambiente de cacería caballeresca, las dos damas de honor de la Virgen…; la segunda presenta pocos personajes, con trajes severos y poco ornamentados, y una cueva que es un cobertizo en la penumbra. La única concesión a la «nobleza» del tema y la única referencia latina es la silla curul —sella curulis— sobre la que está sentada la Virgen, pero, tal vez para indicar que no existen cosas nobles y cosas viles, aparece a su lado, y con evidente analogía formal, la silla del asno. Nada, ni en las figuras ni en el paisaje, alude a la belleza de la creación y a los dones de la Providencia: el sentido de lo divino no está en las cosas, sino en el intelecto de quien las ve.

No obstante, dentro del museo tenemos un problema. Al margen de los museos de arte contemporáneo, en el resto encontramos obras que no estaban hechas para estar en un museo. Una virgen o la Santa Cena eran imágenes devocionales a las que se rezaba; un retrato de un monarca colgaba de la sala donde se recibía a los embajadores; un paisaje holandés adornaba la sala noble de un terrateniente. ¿Qué ha hecho el museo? Ha convertido obras con una claro significado y función políticos o religiosos en… obras de arte y ha roto, así, la relación que tenían con su contexto: las ha vaciado de contenido y, por tanto, solo les queda la «forma»; de este modo, se propicia una «mirada estética» que pervierte toda visión crítica del pasado: incluso al contemplar Los desastres de la guerra de Goya ¡se ve belleza!

En el fondo, un museo no es más que una institución legitimadora de sistemas de poder y creadora de una determinada memoria: la que ha interesado conservar al propio poder. Entrar en un museo es hacer una inmersión en la historia hecha imágenes. Si salimos igual que hemos entrado significa que hemos adoptado la actitud del filólogo del inicio. Es, obviamente, una opción. En esta asignatura trabajaremos otras.

  1. El artista como marca
Hirst_Stalin
Damien Hirst: Stalin, firmado, fechado en 2006 y consignado por A. A. Gill en el reverso. Esmalte doméstico y óleo sobre tela. 137.5 x 118.3 cm.

Para ilustrar la idea de que un artista reconocido en el fondo no es más que una marca comercial, explicamos la siguiente historia: A. A. Gill, un importante escritor y crítico de restaurantes del Sunday Times, poseía un antiguo retrato de Joseph Stalin de autor desconocido, que, según él mismo explica «solía estar colgado sobre mi escritorio como una ayuda para el trabajo duro» y por el que había pagado 200 libras. En febrero de 2007, Gill se lo ofreció a Christie’s para su venta en una subasta de entre semana. La casa de subastas lo rechazó, con el pretexto de que no comerciaba con obras de Hitler ni de Stalin.

«¿Y si fuera Stalin pintado por Hirst o Warhol?»

«En este caso, nos encantaría tenerlo.»
Gill pidió a Damien Hirst que pintara una nariz roja en la cara del dictador soviético. Hirst lo hizo y estampó, además, su firma. Con la firma, Christie’s aceptó el cuadro y estimó su valor entre 8.000 y 12.000 libras. Diecisiete licitaciones más tarde, la obra fue adquirida por 140.000 libras. Al fin y al cabo, era un Hirst firmado.

art_facil
Matthew Higgs: Art isn’t easy, 2008. Impresión sobre papel. 40,6 x 50,8 cm.

Quizá alguien pueda pensar, como dice esta obra, que el arte no es fácil. Al final de la asignatura tendréis argumentos (a favor o en contra) de esta afirmación. Lo que sí puede garantizarse es que, una vez superada, se estará en condiciones de responder a este otro interrogante:

Platt_aixo_art
Steve Platt: Pero ¿esto es arte?, 2009. Representación (performance) concebida por Antony Gormley Fourth Plinth en Trafalgar Square, Londres.

 

Dr. Joan Campàs Montaner
jcampas@uoc.edu  Aura digital
Estudios de Artes y Humanidades de la UOC

281 comments

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  10. 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.

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  13. 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.

  14. 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.

  15. 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.

  16. 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.

  17. 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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  20. 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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  23. 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.

  24. 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.)

  25. 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.

  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. 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.

  28. 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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  151. I have really learned newer and more effective things through your weblog. One other thing I would really like to say is the fact that newer computer operating systems have a tendency to allow additional memory to be used, but they also demand more memory space simply to perform. If a person’s computer is unable to handle extra memory as well as the newest software package requires that memory space increase, it might be the time to shop for a new Computer. Thanks

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  154. Thanks for your posting. I also believe laptop computers have become more and more popular today, and now in many cases are the only type of computer found in a household. Simply because at the same time that they’re becoming more and more economical, their working power keeps growing to the point where they are as highly effective as pc’s out of just a few years back.

  155. Hiya, I am really glad I’ve found this information. Nowadays bloggers publish only about gossips and internet and this is really irritating. A good website with exciting content, that is what I need. Thank you for keeping this web site, I’ll be visiting it. Do you do newsletters? Cant find it.

  156. One thing I would like to say is the fact that before buying more personal computer memory, look into the machine in which it will be installed. In the event the machine will be running Windows XP, for instance, the actual memory threshold is 3.25GB. Setting up greater than this would just constitute some sort of waste. Be sure that one’s mother board can handle this upgrade quantity, as well. Interesting blog post.

  157. Things i have seen in terms of computer memory is the fact that there are specifications such as SDRAM, DDR and the like, that must match the specs of the mother board. If the personal computer’s motherboard is very current while there are no computer OS issues, improving the memory literally will take under sixty minutes. It’s among the easiest computer upgrade procedures one can visualize. Thanks for giving your ideas.

  158. One thing I’d really like to say is before acquiring more computer memory, check out the machine within which it could be installed. In case the machine is definitely running Windows XP, for instance, the memory threshold is 3.25GB. Applying above this would purely constitute some sort of waste. Make sure that one’s mother board can handle your upgrade quantity, as well. Interesting blog post.

  159. One thing I’d prefer to say is that often before acquiring more computer memory, look at the machine within which it could well be installed. In case the machine is definitely running Windows XP, for instance, the actual memory ceiling is 3.25GB. Applying over this would basically constitute a new waste. Make certain that one’s mother board can handle this upgrade quantity, as well. Great blog post.

  160. Some tips i have observed in terms of laptop or computer memory is the fact there are specifications such as SDRAM, DDR and many others, that must match up the specs of the mother board. If the personal computer’s motherboard is kind of current while there are no operating-system issues, changing the ram literally will take under 1 hour. It’s one of many easiest personal computer upgrade procedures one can think about. Thanks for expressing your ideas.

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