Publication: Lo non finito en la pintura Macchiaiola, luminista y realista. Recursos, materiales y procesos técnicos para retratar lo imperceptible
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2018-10-22
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Universidad Complutense de Madrid
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Abstract
La invención de la fotografía en la segunda mitad del siglo XIX, supuso una nueva herramienta de trabajo para multitudes de pintores que encontraron en la imagen fotográfica una fuente de información visual aparentemente fiable. Al mismo tiempo, se produce un progresivo alejamiento de la mímesis como elemento fundamental e ineludible de la obra pictórica, hecho que corresponde, además, con un paulatino desvanecimiento que se observa en algunas zonas de la capa pictórica a partir de ese momento histórico.Los resultados que ofrecen los estudios editados hasta el momento sobre la relación entre pintura e invención de la fotografía y en cómo esta última influye hasta revolucionarlo, el concepto mismo de lo que es y debería ser pintura se limitan, en su mayoría, en ofrecer una mirada basada en los aspectos relacionados con la apariencia del fenómeno, omitiendo el carácter técnico, elemento clave de toda transformación que a lo largo de la historia del arte ha experimentado el lenguaje pictórico.Esta tesis basa su premisa en un hecho: las imágenes fotográficas obtenidas con artilugios fotográficos primitivos y todavía poco elaborados, resultaban todavía deficientes por lo que a grado de definición se refiere, con diferencias sustanciales, en este sentido, entre las zonas de luz y de sombra.Basándonos en esta premisa, se considera oportuno analizar las evidencias técnicas y metodológicas con las que se enfrentaron los artistas que utilizaron aquellas imágenes fotográficas primitivas y asentaron las bases de la pintura contemporánea...
The invention of photography during the second half of the nineteenth century represented a new tool for numerous painters who found a source of apparently reliable visual information in the photographic image. At the same time, a gradual break occurred from the idea of imitation as a fundamental and inescapable element of the pictorial work. Moreover, this correlates with a gradual fading in some areas of the pictorial layer which can be observed from that historical moment onwards. To date, the published works on the relationship between painting and the invention of photography and how the latter influenced, in a revolutionary way, the very concept of what is and should be a painting are mainly focused on the appearance of the phenomenon, omitting the technical perspective, the key element of any transformation of the pictorial language throughout the history of art. This thesis premise is based on the fact that the photographic images obtained with primitive photographic devices, were still deficient regarding the degree of definition, with substantial differences between the zones of light and shadow. Based on this premise, it seems conveniente to analyze the technical and methodological evidences faced by the artists who used those primitive photographic images and laid the foundations of contemporary painting. In order to do so, it is necessary to go back to the Tuscan movement of the Macchiaioli, a pictorial stream which, in addition to temporarily preceding the Impressionism, offers clear evidences of having used the photographic image as a supporting tool for a Luminism-type pictorial creation...
The invention of photography during the second half of the nineteenth century represented a new tool for numerous painters who found a source of apparently reliable visual information in the photographic image. At the same time, a gradual break occurred from the idea of imitation as a fundamental and inescapable element of the pictorial work. Moreover, this correlates with a gradual fading in some areas of the pictorial layer which can be observed from that historical moment onwards. To date, the published works on the relationship between painting and the invention of photography and how the latter influenced, in a revolutionary way, the very concept of what is and should be a painting are mainly focused on the appearance of the phenomenon, omitting the technical perspective, the key element of any transformation of the pictorial language throughout the history of art. This thesis premise is based on the fact that the photographic images obtained with primitive photographic devices, were still deficient regarding the degree of definition, with substantial differences between the zones of light and shadow. Based on this premise, it seems conveniente to analyze the technical and methodological evidences faced by the artists who used those primitive photographic images and laid the foundations of contemporary painting. In order to do so, it is necessary to go back to the Tuscan movement of the Macchiaioli, a pictorial stream which, in addition to temporarily preceding the Impressionism, offers clear evidences of having used the photographic image as a supporting tool for a Luminism-type pictorial creation...
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esis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 28-11-2017