Publication: Lo grotesco en la creación de imágenes publicitarias
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2016-06-09
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Universidad Complutense de Madrid
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Abstract
A través de esta investigación se busca analizar de que forma una categoría estética como es lo grotesco, relacionada generalmente con lo desagradable, lo inquietante, lo cómico-burlesco e, incluso, lo repugnante y lo siniestro, tiene cabida en el ámbito de la fotografía publicitaria, mediante la observación de una tendencia estética que se caracteriza por un uso de lo grotesco sobre todo fantástico, y en la que confluyen algunos de los valores que le han sido atribuidos por diferentes autores a lo largo del tiempo, con otros nuevos que se adecuan a su contexto publicitario. De esta forma, en primer lugar, y para llegar al momento en que lo grotesco adquiere, finalmente, entidad propia, se debe comenzar por el estudio de la belleza, la cual es considerada una de las ideas principales del pensamiento filosófico durante un largo período de tiempo, hasta que entra en crisis en el siglo XVIII a la par que nace la estética como disciplina, e irrumpen nuevas categorías a tener en cuenta en la reflexión sobre el arte, entre las que se encuentra lo grotesco. Así, lo grotesco surge como término en el siglo XV, proveniente de la palabra italiana gruta, ya que se utilizó inicialmente para designar ciertas ornamentaciones encontradas en el sepultado palacio de la Domus Aurea, construido por Nerón en el siglo I. Esas pinturas fueron imitadas por varios pintores del XV y asentado ya el término como sustantivo, vio como era adjetivado y se extendía por toda Europa, relacionándose, además, con numerosas concepciones como lo ridículo o lo bizarro, o manifestaciones cómico artísticas como la Comedia del Arte o los grabados de Callot. Entonces, llegado el siglo XVIII y esa mencionada ampliación del gusto estético en el Romanticismo, y con el apoyo de autores como Friedrich Schlegel, Ruskin y sobre todo Victor Hugo, lo grotesco surge como categoría estética independiente aunque limítrofe con otras, como lo sublime, lo feo y lo cómico, entre las que este estudio analiza sus relaciones y sus distinciones para profundizar en la compleja naturaleza de lo grotesco...
The aim of this research is to analyse the way in which an aesthetic category like the grotesque, related generally to the unpleasant, the disturbing, the burlesque- comic and even the repulsive and the sinister, has a place in advertising photography, through the observation of an aesthetic tendency, characterized by a mainly fantastic use of the grotesque, and in which some of its classic values meet other new values adapted to the advertising context. First of all and before getting to the time where the grotesque finally acquires its own identity, we must begin with the study of beauty. Beauty was considered one of the main ideas in the philosophical thinking for a long time, until it entered a crisis in the 18th century, at the same time that Aestetics is born as a discipline to study art and its qualities, and new categories, like the grotesque, step in to be taken into account. The term grotesque is born in the 15th century, it comes from the Italian word cave (grotta), and was originally used to name certain ornaments found in the Domus Aurea, the buried palace built by Nero in the 1st century. These paintings were copied by several painters at the 15th century , the term became an adjective and the word travelled through Europe, linking itself to ideas like the ridicule or bizarre, or other art forms like The Art of Comedy or the prints of Callot. Then, at the 18th century with the expansion of the aesthetic interests during Romanticism, and with the support of authors like Friedrich Schlegel, Ruskin and most of all Victor Hugo, the grotesque emerges as an independent aesthetic category adjacent to others like the sublime, the ugly and the comic. This research analyses the relation between these categories and their differences to go deep in the complex nature of the grotesque...
The aim of this research is to analyse the way in which an aesthetic category like the grotesque, related generally to the unpleasant, the disturbing, the burlesque- comic and even the repulsive and the sinister, has a place in advertising photography, through the observation of an aesthetic tendency, characterized by a mainly fantastic use of the grotesque, and in which some of its classic values meet other new values adapted to the advertising context. First of all and before getting to the time where the grotesque finally acquires its own identity, we must begin with the study of beauty. Beauty was considered one of the main ideas in the philosophical thinking for a long time, until it entered a crisis in the 18th century, at the same time that Aestetics is born as a discipline to study art and its qualities, and new categories, like the grotesque, step in to be taken into account. The term grotesque is born in the 15th century, it comes from the Italian word cave (grotta), and was originally used to name certain ornaments found in the Domus Aurea, the buried palace built by Nero in the 1st century. These paintings were copied by several painters at the 15th century , the term became an adjective and the word travelled through Europe, linking itself to ideas like the ridicule or bizarre, or other art forms like The Art of Comedy or the prints of Callot. Then, at the 18th century with the expansion of the aesthetic interests during Romanticism, and with the support of authors like Friedrich Schlegel, Ruskin and most of all Victor Hugo, the grotesque emerges as an independent aesthetic category adjacent to others like the sublime, the ugly and the comic. This research analyses the relation between these categories and their differences to go deep in the complex nature of the grotesque...
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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 08-01-2016