Publication: Fuentes grecolatinas en la iconografía homoerótica de la obra de Gregorio Prieto, (1927-1937)
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2017-04-19
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Universidad Complutense de Madrid
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Abstract
En la primera mitad del siglo XX se reinterpretan las fuentes grecolatinas dando lugar a una conceptualización de las mismas adaptadas al nuevo siglo. Los mitos, personajes y contenidos de esta literatura son acordes a los deseos de libertad sexual y la creación estética provocando la creación de un código que, mediante metáforas, símbolos y alegorías, posibilita por un lado la expresión artística individual y por otro la comunicación social relativa a la identidad de género. Gregorio Prieto es uno de los pintores que adopta estos recursos comunicativos a través de su obra visual (pintura, dibujo y fotografía), con mayor profusión durante su etapa llamada clasicista y surrealista (1927-1937). El artista aglutina en su creación una gran variedad de motivos iconográficos utilizados por los artistas homosexuales del momento como Lorca, Cernuda, Giorgio de Chirico o Cocteau. Entre estos motivos: maniquíes, lugares geográficos, gestualidad, vestimenta, animales, personajes (marineros, ángeles, efebos, etc.), cuyo significado no había sido suficientemente desarrollado. La tesis se estructura en cuatro bloques: el primer bloque es metodológico, con justificación, objetivos, hipótesis, preguntas y estructura; el segundo es temático de recopilación de fuentes y clasificación de la documentación analizada; el tercero sobre la vida de Prieto y el análisis iconográfico de su obra; y el cuarto con las conclusiones y posibles líneas de investigación futura. La utilización de símbolos y elementos iconográficos de tipo metafórico y alegórico por el colectivo homosexual, tienen una base, en muchos casos de ocultación debida a la discriminación por orientación sexual. Con el fin de desentrañar cuáles son, su origen y tratamiento en la creación artística de Prieto, se realiza un seguimiento histórico hasta llegar a las fuentes grecolatinas, que podrían considerarse el origen de tales símbolos para la cultura occidental, y se adaptan a la conceptualización del siglo XX...
During the first half of the 20th century the greco-roman sources are reinterpreted becoming a renewed conceptualization in the early years of the new century. The myths, the characters and the general content of this wave are in line with the hopes of sexual liberty and the aesthetic creation resulting in a new code to create, that through the usage of metaphors, symbols and allegories, makes possible in one hand the individual artistic expression and in the other the social talk about the sexual identities. Gregorio Prieto is one of the first painters that embrace these new resources to communicate through his own visual masterpieces (paint, draw and photography), with highest presence during his classicist and surrealist eras (1927-1937). The artist combines in his creation a vast variety of iconographic symbols used by the homosexual artists on the moment like Lorca, Cernuda, Giorgio de Chirico and Cocteau. As part of these symbols we can find: mannequins, geographic locations, poses, clothing, animals, characters (sailors, angels, ephebus, etc.), whose meaning had not been sufficiently developed. The thesis is structured in four different areas: methodology, talking about the reasons, goals, hypothesis, concerns and structure; the second one talks about the research and the document classification applied to the glossary; the next one talks about the Gregorio Prieto’s way of life and the iconographic analysis of his masterwork; and the 4th and last is the outcome of the thesis and possible future lines of investigation. The usage of metaphoric and allegoric iconographic elements as symbols by the homosexual community has as foundation, in most of the cases, the concealment of the fact due to its sexual orientation discrimination. With the goal of revealing the origin and the meaning in the work of Gregorio Prieto, a historic study is conducted back in time until the greco-roman sources, that would be considered the origin of the symbols said for the occidental community, and that are adapted to the 20th century conceptualization...
During the first half of the 20th century the greco-roman sources are reinterpreted becoming a renewed conceptualization in the early years of the new century. The myths, the characters and the general content of this wave are in line with the hopes of sexual liberty and the aesthetic creation resulting in a new code to create, that through the usage of metaphors, symbols and allegories, makes possible in one hand the individual artistic expression and in the other the social talk about the sexual identities. Gregorio Prieto is one of the first painters that embrace these new resources to communicate through his own visual masterpieces (paint, draw and photography), with highest presence during his classicist and surrealist eras (1927-1937). The artist combines in his creation a vast variety of iconographic symbols used by the homosexual artists on the moment like Lorca, Cernuda, Giorgio de Chirico and Cocteau. As part of these symbols we can find: mannequins, geographic locations, poses, clothing, animals, characters (sailors, angels, ephebus, etc.), whose meaning had not been sufficiently developed. The thesis is structured in four different areas: methodology, talking about the reasons, goals, hypothesis, concerns and structure; the second one talks about the research and the document classification applied to the glossary; the next one talks about the Gregorio Prieto’s way of life and the iconographic analysis of his masterwork; and the 4th and last is the outcome of the thesis and possible future lines of investigation. The usage of metaphoric and allegoric iconographic elements as symbols by the homosexual community has as foundation, in most of the cases, the concealment of the fact due to its sexual orientation discrimination. With the goal of revealing the origin and the meaning in the work of Gregorio Prieto, a historic study is conducted back in time until the greco-roman sources, that would be considered the origin of the symbols said for the occidental community, and that are adapted to the 20th century conceptualization...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad II, leída el 12-01-2016