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Universidade Federal De Pernambuco Centro De Artes E Comunicação Programa De Pós-Graduação Em Letras Doutorado Em Teoria Da Literatura UNIVERSIDADE FEDERAL DE PERNAMBUCO CENTRO DE ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS DOUTORADO EM TEORIA DA LITERATURA MARIA BERNARDETE DA NÓBREGA MURILO MENDES: DO PRETEXTO PLÁSTICO À VERDADE PLÁSTICA – A INTERSEMIOSE POESIA/PINTURA, EM TEMPO ESPANHOL. MURILO MENDES, OS PINTORES ANTIGOS DA CATALUNHA (OS PINTORES ANÔNIMOS), EL GRECO, VELÁZQUEZ, GOYA, PICASSO, JUAN GRIS E JOAN MIRÓ. AS LIÇÕES DE ESPANHA Recife-PE 2004 Maria Bernardete da Nóbrega Murilo Mendes: do pretexto plástico à verdade plástica – A intersemiose poesia/pintura, em Tempo Espanhol. Murilo Mendes, Os Pintores Antigos da Catalunha (Os Pintores Anônimos), El Greco, Velázquez, Goya, Picasso, Juan Gris e Joan Miró. As Lições de Espanha Orientadora: Dr (a) Maria do Carmo Siqueira Nino Coorientador: Dr Doutor Joachim Sébastien Tese apresentada como requisito complementar para obtenção do grau de Doutor em Teoria da Literatura, do Programa de Pós-Graduação em Letras da Universidade Federal de Pernambuco. Recife 2004 Catalogação na fonte Bibliotecário Jonas Lucas Vieira, CRB4-1204 N754m Nóbrega, Maria Bernadete da Murilo Mendes: do pretexto plástico à verdade plástica – a intersemiose poesia/pintura, em Tempo Espanhol. Murilo Mendes, os pintores antigos da Catalunha (Os pintores anônimos), El Grego, Juan Velazquez, Goya, Picasso, Juan Gris e Joan Miró. As lições de Espanha / Maria Bernadete da Nóbrega. – 2004. 364 f.: il., fig. Orientadora: Maria do Carmo Siqueira Nino. Tese (Doutorado) – Universidade Federal de Pernambuco, Centro de Artes e Comunicação. Letras, 2016. Inclui referências. 1. Literatura. 2. Escritores brasileiros. 3. Poesia. 4. Pintura. 5. Artes. 6. Pintores. 7. Artistas. I. Nino, Maria do Carmo Siqueira (Orientadora). II. Título. 809 CDD (22.ed.) UFPE (CAC 2016-117) Ao “espírito” da poesia Aos “deuses” poetas Aos mortais leitores Dedico Ao criador, pelo Verbo. Aos mestres, pela verdade do saber ser. Aos amigos, amigas pela canção da vida, da verdade, da América Itinerário da força que pulsa no lado esquerdo. Aos meus, queridos filhos – Cristiano Filho, Pablo e Saulo. As minhas queridas filhas – Christine Elizabeth e Thereza D’Avila. Aos netos – Matheus e Guilherme Filho. Aos genro e nora – Guilherme e Ticiane, filho e filha por força do amor dos filhos. Aos representantes da família – Cristiano, Manuel. Aos amigos e amigas – Tetê e Rosa, Fátima Almeida, Salete Barboza, Edenilda Dantas de Medeiros. A Angel Recio – pela possibilidade de ser. E, enfim, a todos – pela emoção. Agradeço Aos Professores Orientadores Drª Maria do Carmo Siqueira Nino e Dr. Sébastien Joachim que no limite do rigor científico nos apontaram fronteiras para além da palavra e da imagem. Aos professores do Programa de Pós-Graduação em Letras da UFPE, pela possibilidade do exercício do saber. A Eraldo e Diva, secretários do Programa de Pós-Graduação em Letras da UFPE, pela atenção especial com que sempre nos atenderam. Aos colegas professores e funcionários do nosso DHP/CE/UFPB pelo compromisso com a política de capacitação. À CAPES, pela concessão de bolsa para a realização desta pesquisa. A todos que, direta ou indiretamente, contribuíram para a realização deste trabalho. Agradeço O espírito da poesia me arrebata Para a região sem forma onde passo longo tempo imóvel Num silêncio de antes da criação das coisas. Murilo Mendes, “Poema visto por fora”, A Poesia Em Pânico, (1936-1937), 1994, p. 285. RESUMO Este estudo em séries – Série de Estudos I, II, III – constitui-se na leitura da obra Tempo Espanhol, de Murilo Mendes, 1959, a fim de se averiguar a densidade dialógica do discurso poético através da intersemiose poesia/pintura. Nesse percurso, delimitamos a Série Pictórica como corpus da pesquisa para apreender o ato performativo do poeta em especular para além da palavra e da imagem na trajetória: do pretexto plástico à verdade plástica, em Tempo Espanhol. A Intersemiose Poesia/Pintura: Murilo Mendes, Os Pintores Antigos da Catalunha (os pintores anônimos), El Greco, Velázquez, Goya, Picasso, Juan Gris e Joan Miró. As Lições de Espanha. A galeria poética que compõe a Série Pictórica expõe como se instaura o processo dialético/dialógico na densidade intersemiótica poesia-pintura e /ou a transtextualidade do discurso estético. A exposição da arte na dialética da criação poética: poesia/pintura. Palavras-chave: Poepicturalidades. Exercícios. Esboços. Estudos. RESUMEN Este estudio em series – Serie de Estudios I, II, III – Analiza el discurso poético en la obra Tiempo Español, de Murilo Mendes, 1959, con el objetivo de conocer la densidad dialógica del discurso poético que se realiza em la intersemiosis poesia / pintura, en ese recorrido, delimitamos la Serie Pictórica como cuerpo de la investigación para comprender el acto “performativo” del Poeta en especular además de la palabra, de la imagen en la trayectória: del pretexto plástico a la verdad plástica, en Tiempo Español. A la intersemiosis Poesia / Pintura: Murilo Mendes, los Pintores Antiguos de Cataluña, (los pintores anônimos) El Greco, Velázquez, Goya, Picasso, Juan Gris, João Miró. Las lecciones de España de la Galeria Poética que compone la série pictórica muestra como se establece el proceso dialéctico / dialógico de la densidad intersemiótica Poesia / Pintura y/o la transtextualidad del discurso estético. La exposición del arte en la dialéctica de la creación poética: Poesia / Pintura. Palabras-Clave:Poepicturalidad. Ejercicios, Esbozos. Estudios. ABSTRACT This serial study – study series I, II, III – is based on the reading of Murilo Mendes’ work, Tempo Espanhol (1959), aiming to investigate the dialogical depth of the poetic discourse through the intersemiosis poetry/paintings. Through this way, It’s delimited the Pictoric Serie as the research corpus to seize the poet’s performative act to speculate beyond the words and pictures on the trajectory: from plastic pretext to the plastic truth in Tempo Espanhol. The intersemiosis poetry/paintings: Murilo Mendes, The Old Catalan Painters (anonymous painters), El Greco, Velázquez, Goya, Picasso, Juan Gris e Juan Miró. The Spain Lessons. The poetic galery which composes the Pictoric Serie exposes how It’s introduced the dialetic/dialogical process in the poetry/paintings intersemiotic depth and/or the aesthetic discourse transtextuality. The art exposure on the poetic creation dialetic: poetry/paintings. Keywords:Poepicturalidades. Exercises. Sketches. Studies. LISTA DE ILUSTRAÇÕES Figura 01 Tablas procedentes do sepulcro de Sancho Saíz de Carrillo, Em Mahamud (burgos) Pintor Castellano (Anônimo) Castilha, 1300. Barcelona, Museu de Arte da Catalunha ...................................................... 87 Figura 02 O Enterro do Conde de Orgaz, 1586 - 1588.Óleo sobre tela, 480 x 360 cm. Capela de São Tomé, Toledo. Assinado: DOMENIKOS THEOTOKOPOULOS KRÉS ÉPOÍEI. EL GRECO. É considerado o quadro mais representativo de El Greco....................................................... 98 Figura 03 Santo Ildefonso –St Ildefonso - c. 1600 – 1605 – Oleie na lona, 112 x 65 cm. Galeria nacional da arte, Washington. EL GRECO.............................. 117 Figura 04 Vista de Toledo (1610 – 1614) –Óleo sobre tela, 121 cm x 109 cm. Metropolitan Museum of Art, Nova York (EUA). Domenikos Theotokopoulos, EL GRECO…………………………….………………..… 132 Figura 05 Vista e Planta de Toledo – c 1608 – 1609 – Óleo sobre tela, 132 x 228 cm. Casa e Museu El Greco, Toledo. Domenikos Theotokopoulos, EL GRECO ......................................................................................................... 136 Figura 06 Velha Fritando Ovos, 1618. – Óleo sobre tela, 100,5 x 119,5 cm. Edimburgo, National Gallery of Scotland. DIEGO VELÁZQUEZ.............. 143 Figura 07 Três Homens à Mesa, cerca de 1618. Óleo sobre tela, 100,5 x 119,5 cm. Edimburgo, National Gallery of Scotland. DIEGO VELÁZQUEZ ............. 143 Figura 08 Almoço dos Três Camponeses, cerca de 1618.Óleo sobre tela, 98 x 112 cm. Museu de Bellas Artes, Budapest. DIEGO VELÁZQUEZ ................... 144 Figura 09 Cristo em Casa de Marta e Maria, 1618.Óleo sobre tela, 60 x 113,5 cm. Londres the Trustees of the National Gallery. DIEGO VELÁZQUEZ ....... 144 Figura 10 O Aguadeiro de Sevilha, cerca de 1620.Óleo sobre tela, 106,7 x 81 cm. Londres, Apsley House, Wellington Museum, Londres the Trustees of the National Gallery. DIEGO VELÁZQUEZ .................................................... 145 Figura 11 Cabeça de Veado, 1626 – 1627.Óleo sobre tela, 66,5 x 52,5 cm Madrid, Museu do Prado. DIEGO VELÁZQUEZ ...................................... 158 Figura 12 Retrato de Filipe IV em Armadura, cerca de 1628.Óleo sobre tela, 1999,5 x 113 cm. Londres the Trustees of the National Gallery. DIEGO VELAZQUEZ ................................................................................ 158 Figura 13 Retrato de Filipe IV de Pé, 1631 - 1632.Óleo sobre tela, 1999, 5 x 113 cm. Londres the Trustees of the National Gallery. DIEGO VELAZQUEZ. 159 Figura 14 Retrato de Filipe IV em Traje de Caça, 1632-1633. Óleo sobre tela, 189 x 124,2 cm. Madrid, Museu do Prado. DIEGO VELÁZQUEZ................... 159 Figura 15 Retrato de Filipe IV a cavalo, 1634-1635. Óleo sobre tela, 301 x 314 cm. Madrid, Museu do Prado. DIEGO VELÁZQUEZ....................................... 160 Figura 16 Retrato do Infante Baltasar Carlos a Cavalo, 1635.Óleo sobre tela, 209 x 173 cm. Madrid, Museu do Prado. DIEGO VELÁZQUEZ ................... 160 Figura 17 Retrato do anão Francisco Lezcano (El Nino de Vallescas), cerca de 1634-1645.Óleo sobre tela, 107,4 x 83,4 cm. Madrid, Museu do
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