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Lo Non Finito En La Pintura Macchiaiola, Luminista Y Realista. Recursos, Materiales Y Procesos Técnicos Para Retratar Lo Imperceptible

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Lo Non Finito En La Pintura Macchiaiola, Luminista Y Realista. Recursos, Materiales Y Procesos Técnicos Para Retratar Lo Imperceptible UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE BELLAS ARTES TESIS DOCTORAL Lo non finito en la pintura Macchiaiola, luminista y realista. Recursos, materiales y procesos técnicos para retratar lo imperceptible MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Simona Cheli Director Manuel Huerta Torrejón Madrid, 2018 © Simona Cheli, 2017 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE BELLAS ARTES LO NON FINITO EN LA PINTURA MACCHIAIOLA, LUMINISTA Y REALISTA. RECURSOS, MATERIALES Y PROCESOS TÉCNICOS PARA RETRATAR LO IMPERCEPTIBLE MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR: Simona Cheli Director: Prof. Dr. Manuel Huertas Torrejón Madrid, 2017 2 LO NON FINITO EN LA PINTURA MACCHIAIOLA, LUMINISTA Y REALISTA. RECURSOS, MATERIALES Y PROCESOS TÉCNICOS PARA RETRATAR LO IMPERCEPTIBLE DOCTORANDA: SIMONA CHELI DIRECTOR: PROF. DR. MANUEL HUERTAS TORREJÓN Catedrático de universidad de Técnicas Pictóricas y Materiales FACULTAD DE BELLAS ARTES UNIVERSIDAD COMPLUTENSE DE MADRID 2017 3 4 Io stimo più il trovar un vero, benché di cosa leggiera, che ‘l disputar lungamente delle massime questioni senza conseguir verità nissuna. Yo aprecio más encontrar una verdad, aunque de algo pequeño, que disputar ampliamente de grandes cuestiones sin obtener ninguna verdad. (Galileo Galilei en Pisa, 15 de Febrero 1564) 5 6 A mi familia, a Elena, a vosotros os dedico esta tesis. 7 8 Agradecimientos Deseo expresar el más profundo y sincero agradecimiento a mi director de tesis D. Manuel Huertas Torrejón que nunca ha dejado de aconsejarme de la mejor manera al mismo tiempo el que haya depositado en mí su confianza. Su apoyo ha hecho posible que este proyecto se haya llevado a cabo. A todos aquellos profesores de la Facultad de Bellas Artes de la Universidad Complutense de Madrid y a los expertos que, además de compartir sus conocimientos conmigo, se han convertido en amigos. A aquellas instituciones que han creído en mí y que con sus becas y ayudas a la investigación han hecho posibles mis estudios. A Marina Miraglia, que me brindó de forma muy generosa su enorme conocimiento y agudas intuiciones acerca de la relación entre pintura y fotografía. Su fallecimiento, apena dos meses después de nuestros intercambios epistolares, deja un gran vacío. A Paolo Rossi y Maria Teresa Lazzarini, por la inspiración que me transmiten cada vez que piso su casa, por el enriquecimiento que conllevan los muchos intercambios de opiniones que hemos tenido acerca de los temas tratados en esta tesis y por los conocimientos que conmigo han compartido. Un gracias especial a Maria Teresa por brindarme la ocasión de entrevistarla, proporcionándome tan valiosos consejos y material de inestimable valor para este trabajo. A Antonio Malonda, Yolanda Monreal, a todos los amigos y compañeros del mundo del teatro y la interpretación, a todos mis amigos de la Facultad de Bellas Artes de la Universidad Complutense de Madrid por compartir conmigo su talento y amistad. Todos y cada uno de ellos son un ejemplo de dedicación y esfuerzo. A toda la gente que me apoyó cuando decidí venirme a España y me hicieron sentir como una más. Gracias. 9 A Rosa, José Ramón, María y Chano por ser mi familia española y apoyarme en todo lo que hago. A mis padres y a toda mi familia que a pesar de estar en la distancia siempre han estado a mi lado. A mi padre por enseñarme a ser constante con el trabajo y a mi madre por impulsarme siempre hacia adelante, gracias por haberme regalado el Trattato della Pittura a los diez años. A Kinzica y Sole, a las que no les hace falta hablar. A Elena, representas mucho más que lo que se puede expresar en pocas palabras y ya sabes que todo esto es gracias a ti. Y finalmente a todos aquellos artistas Macchiaioli que en su momento tuvieron el valor de ir en contra de lo establecido, dejando además, testimonios escritos y fotográficos sin los cuales este trabajo no hubiera podido plantearse. 10 11 12 INDICE 1. Resumen ................................................................................................. 19 2. Abstract ................................................................................................... 23 3. Introducción ........................................................................................... 27 4. Estado de la cuestión .......................................................................... 37 4.1. Los Macchiaioli ......................................................................... 38 4.2. La invención de la fotografía ................................................. 43 4.3. Lo non finito ............................................................................... 45 5. Hipótesis ................................................................................................. 47 6. Objetivos generales ............................................................................. 49 7. Objetivos específicos .......................................................................... 51 8. El marco de investigación. Análisis de las evidencias .............. 53 8.1. El marco pictórico: los Macchiaioli ..................................... 55 8.2. La motivación perceptivo-visual: el auge de la fotografía ....................................................................................................... 65 8.3. La solución técnica: respecto a lo non finito .................... 73 9. Un acercamiento a lo non finito acreditado. El caso de Michelangelo Buonarroti: motivación, técnicas y recursos ..................... 77 9.2. El procedimiento de “contaminación pictórica” .............. 79 9.3. El método para representar lo imperfecto ......................... 82 13 10. Los Macchiaioli como paradigma de la creación pictórica en tiempo de crisis .................................................................................................... 85 10.1. Marco histórico, político y social ..................................... 87 10.2. Marco artístico, o de la forma en que todos estos elementos se reflejan en el espacio de la creación .................... 93 10.2.1. Acerca de la relación con los contemporáneos españoles ............................................................................................. 109 11. La fotografía como paradigma de una "alfabetidad visual" entre dos épocas gracias a su capacidad de activar el mecanismo de suspensión de la incredulidad ........................................................................ 113 12. La ruptura con el pasado próximo en favor de una construcción del armazón espacial del espacio pictórico prerrenacentista ................................................................................................. 123 12.1. Un breve excurso en los planteamientos del espacio pictórico pre fotográfico según los principios de una ventana abierta o cerrada ................................................................................. 125 12.2. No es la negación de la perspectiva, sino la aceptación de la misma como perspicere ......................................................... 135 12.3. Consecuencias de una perspectiva del entendimiento . ................................................................................................. 139 13. Los cambios que instaló la fotografía en la imagen pictórica 143 13.1. Herramientas ópticas pre fotográficas ......................... 144 13.1.1. La cámara oscura ....................................................... 146 13.1.2. El espejo negro ........................................................... 150 14 13.2. Las primeras imágenes fotográficas. Análisis del histograma ........................................................................................... 154 14. La pintura Macchiaiola a partir de fotografía. Presentación de evidencias ............................................................................................................ 159 14.1. El uso de la fotografía en la obra Porta San Gallo, de Odoardo Borrani ................................................................................. 162 14.2. El uso de la fotografía en la obra L'alzaia, Cascine di Firenze, de Telemaco Signorini ...................................................... 166 14.3. El uso de la fotografía en la obra Buttero a cavallo, de Luigi Gioli ............................................................................................. 169 14.4. La imagen fotográfica como cambio en la percepción visual ................................................................................................. 172 14.4.1. Metodología para obviar la información sobrante .. ......................................................................................... 177 15. La construcción de una nueva imagen pictórica a través de lo non finito: evidencias ........................................................................................ 179 15.1. Objeciones a lo anterior ................................................... 186 16. Recursos técnicos y pictóricos en la obra Macchiaiola a través del paradigma de la obra de Giovanni Fattori ............................................ 189 16.1. Recursos técnicos de la obra Macchiaiola .................. 192 16.1.1. Nuevos soportes, materiales y útiles.................... 194 16.1.2. El tratamiento del soporte. Diferencias entre tabla y tela ......................................................................................... 196 16.1.3. Elección y preparación de la tabla ........................ 202 16.1.4. Elección y preparación de la tela ........................... 210 15 16.2. Recursos pictóricos
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