Publication: Eulogio Varela, ilustrador y diseñador gráfico modernista para Blanco y Negro y ABC (1899-1936)
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2016-10-05
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Universidad Complutense de Madrid
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Abstract
Mi especial interés por la figura de Eulogio Varela Sartorio proviene de mis años de licenciatura. Allá por el año 2004, comencé a calibrar diferentes posibilidades temáticas a la hora de realizar mi trabajo de investigación que bien pudiera en un futuro culminar en una tesis. De ese modo tras varios contactos con el que hoy es mi tutor de tesis Jaime Brihuega, llegamos a la conclusión de que el terreno del modernismo y en concreto de aquel que conoció efímera vida en la capital de España cumplía muchos de los requisitos que demanda un trabajo de investigación de este tipo. Particularmente este estilo basado en la estilización suma de las formas, enérgico, vitalista y a la vez simbólico me abría diversos territorios en los que atisbar múltiples tipologías y complejidades, muy alejadas de aquella visión lúdica y cerrada que quizás por error propio me había configurado en mi cabeza. Dentro de este entramado seductor, siempre me atrajo el campo experimental del dibujo y la ilustración gráfica, entendidos como expresión primera y posiblemente verdadera de la idea artística, como ejercicio de libertad creativa aún no tan maquillada por el artificio de la norma y como trasunto de un estilo universal. Fue a partir de estas inquietudes a través de las que llegué a las revistas ilustradas, a aquellas que seguían un discurso visual y literario muy cercano a las novedades de finales del siglo XIX en el resto de Europa; en concreto a las que en Madrid nacieron con clara vocación 10 cosmopolita e internacional, entre las cuales Blanco y Negro siempre ejerció desde 1891 como motor y modelo, al menos en la capital...
My special interest in the figure of Eulogio Varela Sartorio comes from my undergraduate years. Back in 2004, I began to calibrate different thematic possibilities when making my research that could well culminate in a future thesis. Thus after several contacts with which today is my thesis advisor Jaime Brihuega, we concluded that the ground of modernism and specifically which who met ephemeral life in the capital of Spain fulfilled many of the requirements that demand a research of this type. Particularly this style based on the stylized sum of forms, energetic, lively and symbolic time opened various territories where I could envision types and complexities of that previous playful and closed vision that perhaps I mistakenly had set in my own head. Within this alluring scheme, I always felt attracted by the experimental field of drawing and graphic illustration, understood as the first expression and the possibly true of the artistic idea, as an exercise in creative freedom not so made up by the artifice of the standard and as a transcript of a universal style. It was from these concerns through which I came to the illustrated magazines, those that were very close to the innovations of the late nineteenth century in the rest of Europe; visual and literary discourse; in particular to those in Madrid that were born with a clear cosmopolitan and internationally vocation, among which Blanco y Negro had served since 1891at least in the capital as a driver and model...
My special interest in the figure of Eulogio Varela Sartorio comes from my undergraduate years. Back in 2004, I began to calibrate different thematic possibilities when making my research that could well culminate in a future thesis. Thus after several contacts with which today is my thesis advisor Jaime Brihuega, we concluded that the ground of modernism and specifically which who met ephemeral life in the capital of Spain fulfilled many of the requirements that demand a research of this type. Particularly this style based on the stylized sum of forms, energetic, lively and symbolic time opened various territories where I could envision types and complexities of that previous playful and closed vision that perhaps I mistakenly had set in my own head. Within this alluring scheme, I always felt attracted by the experimental field of drawing and graphic illustration, understood as the first expression and the possibly true of the artistic idea, as an exercise in creative freedom not so made up by the artifice of the standard and as a transcript of a universal style. It was from these concerns through which I came to the illustrated magazines, those that were very close to the innovations of the late nineteenth century in the rest of Europe; visual and literary discourse; in particular to those in Madrid that were born with a clear cosmopolitan and internationally vocation, among which Blanco y Negro had served since 1891at least in the capital as a driver and model...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte III (Contemporáneo), leída el 15/01/2016