Publication: Eduardo Arroyo contra la historia
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2016-10-11
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Universidad Complutense de Madrid
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Abstract
El objetivo de este ensayo crítico es realizar un retrato biográfico del pintor y escritor Eduardo Arroyo (Madrid, 1937) para, a partir de él, llevar a cabo a un análisis temático y formal de su producción pictórica. Su obra, una de las propuestas figurativas más singulares del arte europeo contemporáneo, es testimonio de la actualidad, de lo público, al tiempo que un registro de su historia personal. Por medio de sus cuadros, Arroyo pone de manifiesto la posición crítica que ha adoptado con respecto a su contexto histórico-social, marcado durante más de tres décadas por la dictadura franquista, más tarde, por la transición democrática y en tiempos recientes por las transformaciones ocurridas en el proceso de homogeneización del mundo occidental. Así, desde comienzos de los años sesenta del siglo pasado, no ha dejado de cuestionar la validez de la historia, como disciplina que narra sucesos, de polemizar sobre los fundamentos del arte de vanguardia, además de destacar la responsabilidad ética del pintor actual en una época en la que se ve peligrar la supervivencia de su oficio. Para definir las obsesiones que han conformado su creación, detestaciones, pasiones y ambiciones, se ha extraído el ideario artístico del pintor de las fuentes primarias existentes, como son ensayos de carácter autobiográfico, artículos periodísticos, entrevistas, memorias y disertaciones públicas. En el caso de un creador locuaz, que ha sido calificado de «prestidigitador de la palabra», en virtud de las declaraciones hechas sobre los más diversos temas de la cultura, este abundante material tiene un valor extraordinario. Dichas confesiones se han puesto en relación con los ciclos pictóricos desarrollados por el artista para ser analizados a la luz de la bibliografía crítica existente sobre la materia. Entre los escritores y especialistas que han abordado su obra destacan: Francisco Calvo Serraller, Bernard Dahan-Constant, Fabienne di Rocco, Juan Goytisolo, Fernando Savater, Michel Sager, Leonardo Sciasca, Jorge Semprún, Wener Spies, José Miguel Ullán o María Zambrano...
The objective of this critical essay is to provide a biographical portrait of the painter and writer Eduardo Arroyo (Madrid, 1937), to thereby carry out a thematic and formal analysis of his pictorial production. His work, one of the most unique figurative approaches of contemporary European art, is testimony of public affairs but at the same time a record of his personal history. Through his paintings, Arroyo reveals the critical position taken with regard to his historical and social context, marked by the dictatorship of Franco for more than three decades, then by the democratic transition and finally by the changes that have taken place in recent years within the process of homogenization of the Western world. Since the beginning of the sixties of the last century, he has questioned the validity of history, as a discipline that narrates events, he has argued about the foundations of avant-garde art, in addition to highlight the ethical responsibility of the contemporary painter, in an era in which the survival of this profession precisely has been threated. To define the obsessions that have shaped his creativity, these being passions, loath and ambitions, firstly it was necessary to pick up his artistic ideas thought the primary sources available, such as trials of autobiographical character, press articles, interviews, reports and public lectures. In the case of a loquacious artist, who has been named on many occasions as a «magician of the word», under his statements about various cultural issues, this material is plentiful and has an extraordinary value. Such confessions have been put in relation to the pictorial cycles developed by the artist to be analyzed in the light of the critical bibliography produced. Among the writers and specialists that have studied his work stands out: Francisco Calvo Serraller, Bernard Dahan-Constant, Fabienne di Rocco, Juan Goytisolo, Fernando Savater, Michel Sager, Leonardo Sciasca, Jorge Semprún, Wener Spies, José Miguel Ullán or María Zambrano...
The objective of this critical essay is to provide a biographical portrait of the painter and writer Eduardo Arroyo (Madrid, 1937), to thereby carry out a thematic and formal analysis of his pictorial production. His work, one of the most unique figurative approaches of contemporary European art, is testimony of public affairs but at the same time a record of his personal history. Through his paintings, Arroyo reveals the critical position taken with regard to his historical and social context, marked by the dictatorship of Franco for more than three decades, then by the democratic transition and finally by the changes that have taken place in recent years within the process of homogenization of the Western world. Since the beginning of the sixties of the last century, he has questioned the validity of history, as a discipline that narrates events, he has argued about the foundations of avant-garde art, in addition to highlight the ethical responsibility of the contemporary painter, in an era in which the survival of this profession precisely has been threated. To define the obsessions that have shaped his creativity, these being passions, loath and ambitions, firstly it was necessary to pick up his artistic ideas thought the primary sources available, such as trials of autobiographical character, press articles, interviews, reports and public lectures. In the case of a loquacious artist, who has been named on many occasions as a «magician of the word», under his statements about various cultural issues, this material is plentiful and has an extraordinary value. Such confessions have been put in relation to the pictorial cycles developed by the artist to be analyzed in the light of the critical bibliography produced. Among the writers and specialists that have studied his work stands out: Francisco Calvo Serraller, Bernard Dahan-Constant, Fabienne di Rocco, Juan Goytisolo, Fernando Savater, Michel Sager, Leonardo Sciasca, Jorge Semprún, Wener Spies, José Miguel Ullán or María Zambrano...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte III, leída el 27-01-2016. Tesis retirada por expreso deseo de la autora