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LOS NABIS Ca.QXD 12/3/07 13:05 Página 1 LOS NABIS Ca.QXD 12/3/07 13:05 Página 2 LOS NABIS Ca.QXD 12/3/07 13:05 Página 3 LOS NABIS ca.QXD 12/3/07 13:05 Página 1 LOS NABIS ca.QXD 12/3/07 13:05 Página 2 LOS NABIS ca.QXD 12/3/07 13:05 Página 3 Los Nabis PROFETAS DE LA MODERNIDAD MARZO / ABRIL 2007 Palacio Municipal de Exposiciones Kiosco Alfonso A CORUÑA LOS NABIS ca.QXD 12/3/07 13:05 Página 4 CATÁLOGO EXPOSICIÓN EDITA PRODUCCIÓN Caixanova Caixanova Conseil Général des Yvelines DISEÑO Y REALIZACIÓN Marisa Oropesa REALIZACIÓN Maria Toral Musée Départemental Maurice Denis : Palacios Publicidad Frédéric Bigo Frédéric Miota TEXTOS Jean-Pierre Variéras Agnès Delannoy Marisa Oropesa COMISARIADO CIENTÍFICO Juan Manuel Bonet Agnès Delannoy BIOGRAFÍAS COMISARIADO TÉCNICO Maria Toral Marisa Oropesa FOTOGRAFÍAS COORDINACIÓN Photothèque du Musée Départemental Comisariados y Cultura Maurice Denis María Toral Yves Tribes SEGURO TRADUCCIONES Axa Art Remy Traducciones TRANSPORTE IMPRESIÓN L.P ART Toulouse : Marion Pujol C/A Gráfica ENCUADERNACIÓN Triñanes, S.L. Depósito Legal: VG 253-07 AGRADECIMIENTOS La realización de esta exposición no hubiera sido posible sin la generosa participación de los coleccionistas particulares que han apoyado este proyecto y han aportado su ayuda conservándose en el anonimato. Nuestra gratitud también a Madame Françoise Daniel conser- vadora jefe del Musée des Beaux Arts de Brest. LOS NABIS ca.QXD 12/3/07 13:05 Página 5 Índice INTRODUCCIÓN AL ARTE DE LOS NABIS 9 Agnès DELANNOY LOS NABIS 21 Marisa OROPESA HACIA EL TIEMPO DE LOS “NABIS” 25 Juan Manuel BONET Paul GAUGUIN 31 Emile BERNARD 35 Jozsef RIPPL-RONAÏ 39 Paul SERUSIER 43 Paul RANSON 55 Félix VALLOTTON 65 Pierre BONNARD 75 Henri Gabriel IBELS 93 Ker Xavier ROUSSEL 105 Georges LACOMBE 115 Jean VERKADE 127 Edouard VUILLARD 137 Maurice DENIS 149 DATOS BIOGRÁFICOS 184 (por orden alfabético) LOS NABIS ca.QXD 12/3/07 13:05 Página 6 LOS NABIS ca.QXD 12/3/07 13:05 Página 7 INTRODUCCIÓN AL ARTE DE LOS NABIS La noción de “simbolismo pictórico” Por Agnès DELANNOY El término “nabi” procede del hebreo, y su significado sería en el Museo de Luxemburgo… Tras una apariencia ideal, “profeta”. Esta es la palabra que los artistas franceses, cen- democrática e igualitaria, la enseñanza oficial reposaba tro de esta exposición, utilizaron entre ellos a partir de los sobre una organización rigurosa y escuelas bien llevadas, años 1890, para designar a los miembros de su grupo. Se profesores titulados, programas muy completos (clases de considera profeta a aquel que anuncia el futuro, que predi- dibujo según lo clásico, de anatomía, de perspectiva de his- ca la verdad y sabe reconocer aquellas cosas que el común toria…). de los mortales es incapaz de distinguir sin ayuda. Como El objetivo de esta enseñanza era aportar, al Estado y a los artistas, los Nabis tuvieron ese sentimiento de ser “profe- particulares, “profesionales competentes”, artistas y técni- tas”, de anunciar y de preparar una evolución radical y nece- saria del arte. La afirmación de sus convicciones pictóricas cos, capaces de responder a los encargos con calidad: retra- y estéticas, entonces alejadas de las normas favorecidas por tos semejantes, paisajes agradables, desnudos bien dibuja- la opinión del publico, exigía por parte de estos creadores dos, cuadros de historia, religiosos o mitológicos, com- una fuerza moral excepcional y el coraje de vencer las puestos correctamente… numerosas dificultades existentes. Para comprender la Incluso sin tener los conocimientos necesarios para recono- importancia de este movimiento cultural y artístico, tene- cer la calidad de una obra de arte, el cliente que se dirigía a mos que fijarnos en lo que pasaba en la época para encon- un antiguo alumno de la “Escuela” o, mejor aún, a un trar el sentido y el objeto de la obra de arte, lo que para un Premio de Roma, tenía la certeza de obtener una obra de la artista era considerado deseable y honrado. que su familia y él mismo podrían sentirse orgullosos y que En primer lugar, estaba el aprendizaje del “oficio”, el paso sería transmitida a sus herederos como un objeto de valor. indispensable por las escuelas de dibujo, la preparación de La obra de arte era ante todo un trabajo bien hecho, bien los exámenes para entrar en la escuela de Bellas Artes, la dibujado -“El dibujo es la probidad del arte”, se decía- agra- elección del estudio, los exámenes y las oposiciones inter- dable para la vista y el espíritu. Esto era ser “honrado” en medias, el acceso a los Salones, el deseo tembloroso de la pintura. Para el artista el objetivo era lograr no equivocar- obtener el tan codiciado “Prix de Rome”, y entrar algún día se en la calidad técnica del trabajo entregado. 7 LOS NABIS ca.QXD 12/3/07 13:05 Página 8 Para obtener esta competencia, en Francia y en la mayoría se enseña a la gente joven que hay que “dibujar convenien- de los países europeos, el joven interesado por el dibujo temente antes de pintar” si bien hay que “separar el estudio debe someterse a años de estudio, en primer lugar según de la pintura en dos categorías. Se aprende primero a dibu- los modelos clásicos y las escayolas de los estudios, y des- jar y después a pintar, lo que viene a significar que se colo- pués según el modelo vivo. El primer elemento del éxito, en rea en un contorno ya preparado”2. Se pide a los alumnos el sentido académico del término, era la exactitud rigurosa “hacer tontamente lo que vemos”, se les enseña el modela- del dibujo, la calidad de lo entregado, la búsqueda de la imi- do diciendo “El dibujo son manchas”3. En “la mayoría de las tación. Después venía la adquisición de una sólida cultura Academias, se inculca a los alumnos procedimientos en vez general y la práctica incontestable de una reflexión cultural de enseñar cómo nace una obra de arte”. El joven artista real. La particular habilidad de algunos pintores, el nivel de que sigue esta enseñanza logra difícilmente estudiar su pro- elaboración de sus composiciones, la belleza y la amplitud pia obra, a fuerza de copiar tontamente la naturaleza, su de sus obras les permitía a veces lograr una gran reputa- imaginación se encuentra atrofiada casi por completo. ción, obtener grandes encargos prestigiosos del Estado o Como lo cuenta Verkade (1868-1946) que, desde su llega- personalidades importantes, de estar rodeados de alum- da a París conoció a Gauguin y se integró rápidamente con nos, de colaboradores de estudio y de clientes, de recibir el grupo de los nabis, el joven pintor, al final de sus años de premios o entrar en la Academia… Todo esto se basaba en estudios “no sabía como hacer un cuadro. Era como alguien la calidad ilusionista con la que los temas eran tratados. Ya que, conociendo muchas palabras y reglas de una lengua, se tratara de retratos o de naturalezas muertas, de escenas no puede hablar”4. Por el contrario, Gauguin estaba conven- mitológicas o religiosas, en definitiva de cualquier tema, la cido del hecho de que la exactitud del dibujo tiene poca importancia era la verosimilitud de la representación, su importancia. Según él, no hay que copiar la naturaleza por- brío, su fuerza de imitación. Es esto en lo que se encontra- que “el arte es una abstracción”5, y lo que se enseña en las ba el sentido y el objeto del arte oficial, esto es lo que se escuelas y en las academias se basa en un contrasentido. El aplicaba a todo artista honrado sin importar cual fuera su papel del artista no es el de copiar sino el de interpretar el nivel y el tema representado. tema y restituirlo en la tela de la manera que él lo entiende. Para los Nabis, sin embargo, el sentido del arte no es y no Este trabajo de interpretación pictórica pasa siempre por puede ser “imitación”. La verdad en el arte no puede lograr- una cierta simplificación del dibujo y por la obligación de se buscando simplemente trasladar todo con exactitud. elegir obligatoriamente las líneas y los colores utilizados. Según ellos, la enseñanza del arte se comprometió con un Por lo tanto hay que innovar, liberarse de los métodos ofi- falso camino. No sólo la enseñanza mecánica del dibujo es ciales del arte y buscar soluciones pictóricas que respondan un error: “Saber dibujar no significa dibujar bien”1, aunque a este nuevo método: “evidentemente, esta vía simbolista 1 Gauguin Racontars de rapin, París, Editions Falaize, n. d., p. 32. Gauguin persigue con esos términos:“Examinemos esa famosa ciencia del dibujo; pero es una ciencia que conocen todos los pre- mios de Roma, e incluso aquellos que han concursado y que han quedado los últimos; ciencia que sin excepción han aprendido todos en unos años conducidos por su pastor Cabanel. Ciencia que aprenden fácilmente, sin esfuerzos, cultivando siempre las brasseries y los lupanares.” 2 Paul Gauguin, Oviri, écrits d’un sauvage, Textes choisis et présentés par Daniel Guérin, París, Editions Gallimard, 1974, p. 25. 3 Maurice Denis, “ Définition du Néo-Traditionnisme ”, Art et critique, 23 et 30 août 1890, repris dans Théories, 1890 – 1910, Du Symbolisme et de Gauguin vers un nouvel ordre classique, París, Rouart et Watelin éditeurs, 1920, pp. 4-7. 4 Tom Willibrord Verkade, Le tourment de Dieu, París, Librairie de l’art catholique, 1926, pp. 35-36. 5 Gauguin, lettre à Vincent Van Gogh, 24 ou 25 juillet 1888, Correspondance de Paul Gauguin, documents, témoignages, ed. établie par Victor Merlhès, París, Fondation Singer-polignac, 1984, p. 200. 8 LOS NABIS ca.QXD 12/3/07 13:05 Página 9 esta llena de escollos”6 pero no importa si te alejas de los nes pictóricas que no disfracen el pensamiento”11.
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