Publication: Pintura en voz baja: rastros y afectos a Giorgio Morandi en el arte español (1984-2014)
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2019-06-24
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Universidad Complutense de Madrid
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Abstract
La presente investigación parte del análisis temático, formal y conceptual de la obra del pintor italiano Giorgio Morandi (Bolonia, 1890-1964) y plantea un itinerario abierto por aquellos afectos, entusiasmos, adhesiones y afinidades que su obra ha motivado en el arte español entre 1984 (coincidiendo con la primera exposición antológica del pintor en España) y 2014 (año de inicio de la presente Tesis doctoral).Atendemos como marco referencial de la investigación las dos exposiciones antológicas del artista celebradas en España hasta la fecha: en La Caja de Pensiones, la primera(1984), -arriba referida- y en el Museo Thyssen-Bornemisza (1999) la segunda. Ambasse presentaron inicialmente en Madrid, aunque tuvieron itinerancia posterior en Barcelona, la primera de ellas, y en el Instituto Valenciano de Arte Moderno, la segunda.Iniciada la investigación, y ya en 2015, se nos presenta la oportunidad de abordar un anteproyecto expositivo sobre el tema que nos ocupa, para el Centro José Guerrero de la ciudad de Granada. La comisión asesora del Centro integrada por Juan Manuel Bonet, María de Corral y Eduardo Quesada aprobó el anteproyecto en la primavera de 2015 y, a partir de entonces, la investigación caminó hermanada con la exposición, titulada ésta: Pintura en voz baja. Ecos de Giorgio Morandi en el arte español que, comisariada por el doctorando, pudo verse en el Centro José Guerrero de Granada entre el 7 de abril y el 19 de junio de 2016...
This research is based on conceptual, formal and thematic analysis of the artworkof the Italian painter Giorgio Morandi (Bologna, 1890-1964) and proposes an open itinerary through the affections, excitements, accessions and affinities motivated by his artwork in Spanish art between 1984 (coinciding with the first anthological exhibition of the painter in Spain) and 2014 (the year in which this dissertation was began). As a frame of reference for the research we use the two anthological exhibitions of the artist held in Spain to date: the first, in the Caja de Pensiones (1984),-mentioned above -and the second in the Museo Thyssen -Bornemisza (1999). Both were initially presented in Madrid, although they had roaming back in Barcelona, the first of them, and in the Instituto Valenciano de Arte Moderno, the second. In 2015 with the research already having started, we are provided with the opportunity to address an expository blueprint on the subject that concerns us, for the Centro José Guerrero in the city of Granada.The Advisory Committee of the Centre composed of Juan Manuel Bonet, Maria de Corral and Eduardo Quesada approved the draft in the spring of 2015, and from then on, the research went hand in hand with the exhibition entitled: Painting in a low voice. Echoes of Giorgio Morandi in Spanish art, curated by the undersigned doctoral candidate, and which could be seen at the José Guerrero Center in Granada between April 7 and June 19, 2016...
This research is based on conceptual, formal and thematic analysis of the artworkof the Italian painter Giorgio Morandi (Bologna, 1890-1964) and proposes an open itinerary through the affections, excitements, accessions and affinities motivated by his artwork in Spanish art between 1984 (coinciding with the first anthological exhibition of the painter in Spain) and 2014 (the year in which this dissertation was began). As a frame of reference for the research we use the two anthological exhibitions of the artist held in Spain to date: the first, in the Caja de Pensiones (1984),-mentioned above -and the second in the Museo Thyssen -Bornemisza (1999). Both were initially presented in Madrid, although they had roaming back in Barcelona, the first of them, and in the Instituto Valenciano de Arte Moderno, the second. In 2015 with the research already having started, we are provided with the opportunity to address an expository blueprint on the subject that concerns us, for the Centro José Guerrero in the city of Granada.The Advisory Committee of the Centre composed of Juan Manuel Bonet, Maria de Corral and Eduardo Quesada approved the draft in the spring of 2015, and from then on, the research went hand in hand with the exhibition entitled: Painting in a low voice. Echoes of Giorgio Morandi in Spanish art, curated by the undersigned doctoral candidate, and which could be seen at the José Guerrero Center in Granada between April 7 and June 19, 2016...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 20-12-2018