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El Arte El Arte De Reproducir el arte de reproducir el Arte pared | pigmento | pixel museo nacional y centro de investigación de altamira espacio 1973 09 >12/2018 en colaboración con: Interior Pinturas en la bóveda de la cueva de Altamira, 1879. Realizado por el artista Paul Ratier, por encargo del descubridor de la cueva, Marcelino Sanz de Sautuola. Foto: Pablo Hojas Lascaux Centro Internacional del Arte Parietal (Montignac, Dordogne). Foto: S. Laval En la actualidad, la reproducción de las cuevas con arte rupestre constituye un recurso cultural en pleno desarrollo. Se sitúa en la encrucijada entre investigación, conservación y divulgación y utiliza tecnologías innovadoras y conocimientos técnicos y artísticos de enorme especialización. A partir de la reflexión sobre sus relaciones con el original, que a un tiempo sustituye y multiplica, puede considerarse la ma- nifestación de una mirada actual sobre el arte prehistórico. Se integra en una concepción general de la cultura, así como en los territorios que contribuye a vitalizar. La construcción de una réplica está casi siempre asociada al cierre de la cueva original, dentro de un programa general de conservación. La cueva de Altamira (Santillana del Mar, Cantabria), cuyas pinturas dieron a conocer en 1879 el arte parietal paleolítico, fue acondicionada y estuvo abierta al público hasta 1977. Dos años más tarde se creó el Museo Nacional y Centro de Investigación de Altamira, la institución que generó en 2001 la réplica de la cueva, la llamada Neocueva. Por su parte, la cueva de Lascaux (Montignac, Dordoña, Francia) se descubrió el 12 de septiembre de 1940 y estuvo abierta entre 1948 y 1963. Desde su cierre, se ha reproducido en varias ocasiones, la última se halla integrada en el Centro Internacional de Arte Parietal de Lascaux, inaugurado el 15 de diciembre 03 de 2016. Unos meses antes, el 25 de abril de 2015, había abierto en Ardèche la Caverne Pont d’Arc, la reproduc- ción exacta de la cueva Chauvet-Pont d’Arc, descubierta en 1994, que no llegó a abrirse al público. De nuevo, esta réplica se integra en una instalación cultural más amplia que presenta un fuerte dispositivo de mediación. Junto a estas tres importantes estructuras recientes, numerosos museos, centros de interpretación y parques arqueológicos muestran réplicas parciales o totales de diversos sitios con arte rupestre, en tanto que las visitas virtuales se multiplican en Internet para divulgar entre el gran público un patrimonio que se ha hecho inaccesible. Podría decirse que el arte parietal no ha sido nunca más visible que cuando se ha ocultado. El arte de reproducir el Arte PARED | PIGMENTO | PIXEL F. Daleau, cueva de Pair-non-Pair, cuaderno de croquis, 1896. Museo de Aquitania, Burdeos Reproducir para convencer (1879-1902) En el debate sobre la antigüedad del arte parietal, la copia de las figuras permitía reproducirlas y difun- dirlas y era, por tanto, un elemento crucial para demostrar y convencer. El debate sobre la antigüedad del arte parietal se inició en 1879 tras el descubrimiento de Altamira por Marcelino Sanz de Sautuola (1831-1888). Su reconocimiento llegó en 1902, en el Congreso de la Aso- ciación Francesa para el Progreso de las Ciencias celebrado en Montauban, donde los prehistoriadores afirmaron la capacidad simbólica del hombre prehistórico. En este debate, en que los descubridores debían difundir sus observaciones para convencer a los detractores, la copia se convirtió en una prueba concluyente. Poco después del descubrimiento, Sanz de Sautuola recurrió a un pintor, Paul Ratier (1832-1896), para reproducir el techo de la cueva de Altamira. Esta reproducción ocupó un lugar destacado en la monogra- 04 fía que Sautuola escribió sobre la cueva en 1880. A mediados de la década de 1890, François Daleau (1845-1927) en Pair-non-Pair (Marcamps, Gironde) o Émile Rivière (1835-1922) en La Mouthe (Les Eyzies-de-Tayac, Dordoña) diversificaron las técnicas de reproducción para obtener unas pruebas más determinantes, respetando al mismo tiempo la integridad de las obras y de las paredes. Los bocetos y calcos son necesarios para la observación y el estudio, pero para la divulgación se probarán otras técnicas. Los investigadores experimentaron con la fotografía, considerada objetiva y moderna, a pesar de los problemas técnicos que planteaba el medio subterráneo. En 1897, Émile Rivière sacó en La Mouthe seis fotografías, con una exposición de hasta cinco o seis horas. En Pair-non-Pair, François Daleau recurrió asimismo a la fotografía y dirigió la investigación encamina- da a sacar estampaciones y moldes de los grabados. Llegó a contemplar la realización de una réplica integral de la pared en varias placas superpuestas, pero el proyecto no salió adelante. Los moldes con- sistieron en seis placas separadas, que se expusieron en Burdeos en 1898 y en la Exposición Universal de París dos años después. El arte de reproducir el Arte PARED | PIGMENTO | PIXEL Altamira, tomas para fotografías estereoscópicas (Deutsches Museum, Munich), hacia 1957. El arte parietal al servicio de las nuevas tecnologías En 1962 se presentó al público una reproducción en relieve del techo de Altamira, en una sala del Deuts- ches Museum de Múnich. Las innovaciones que incluía esta réplica establecieron para varias décadas las técnicas de reproducción de las paredes con pinturas prehistóricas. En 1962, el Deutsches Museum de Múnich (Alemania) instaló en una de sus salas una reproducción a tamaño natural del techo de la cueva de Altamira. El arte parietal entraba así en un museo dedicado a la ciencia y la técnica. La clave del proyecto era un desafío tecnológico: reproducir una pared con arte rupestre situada en un entorno subterráneo, en una época en que la cueva se podía visitar. Para llevar a buen puerto este proyecto, el museo colaboró con el Instituto de Geodesia Aplicada de Francfort. Para la toma de imágenes en un entorno subterráneo, los ingenieros adaptaron una técnica basada en el análisis de fotografías aéreas, que entonces se empleaba en cartografía: la fotogrametría. Esta técnica consiste en medir un objeto mediante el análisis de su reproducción en perspectiva. Conci- 05 bieron así un método que quedó fijado en líneas generales para varias décadas. Tras una cobertura fotográfica tradicional, se desarrolló sobre todo el techo una campaña de fotografía estereoscópica. Se tomaron veintiocho pares de fotografías mediante las que se obtuvo una representa- ción en relieve muy exacta. A partir de las imágenes, la fotogrametría permite establecer una precisa car- tografía del techo, con curvas de nivel equidistantes 2 cm. La superposición de la cobertura fotográfica permite posicionar cada una de las figuras con gran precisión. A continuación, esta cartografía sirve de referencia para construir un modelo en negativo. Se fabricaron bloques de escayola con ayuda de una fresadora de precisión y a continuación se procedió al pulido, para borrar las curvas de relieve y obtener un resultado lo más cercano posible al modelado de la roca. Luego se extrajo una reproducción en positivo y finalmente, los pintores reprodujeron el aspecto de la roca y las figuras para llegar a la réplica exacta final. En 1964, se instaló en el Museo Arqueológico Nacional de Madrid una segunda reproducción del techo de Altamira, en una sala subterránea acondicionada en los jardines del museo, que recreaba un espacio muy similar a una cueva natural. El arte de reproducir el Arte PARED | PIGMENTO | PIXEL Cueva de Cussac (Le Buisson de Cadouin, Dordogne), Prospección geomagnética del «locus 1», con restos humanos. Foto: O. Got, PCR Cussac Entrar en la cueva: ¿original o réplica? Actualmente, el arte parietal se considera un elemento fundamental del patrimonio que debe protegerse sin dejar por ello de ser accesible a todos. La opción de acoger al público en la cueva original o en una réplica es la clave de la reflexión sobre conservación. Numerosas cuevas con arte rupestre están abiertas al público. Sean de gestión estatal, local o privada, las visitas siempre se desarrollan respetando la conservación de los yacimientos protegidos en calidad de monumentos históricos. Los visitantes siguen una trayectoria perfectamente señalizada y su número se controla: en Font-de-Gaume, el Centre des Monuments Nationaux limita las visitas a 80 personas diarias durante media hora, cifra que únicamente se alcanza durante la temporada turística. Otras cuevas se cierran al público (Lascaux en 1963, Altamira en 1977, etc.) tras constatarse la existencia de problemas microbiológicos que la investigación ha relacionado claramente con la concurrencia de 06 seres humanos regular y a veces masiva. Actualmente, el acceso a las cuevas se somete a un riguroso control, y las cuevas de descubrimiento más reciente (Chauvet-Pont d’Arc en 1994, Cussac en 2000) no llegarán nunca a abrirse a la visita. Por tanto, el acceso se limita a un número restringido de personas en función de la protección y conser- vación de la cueva, o a los miembros del equipo científico que interviene en un programa multidisciplinar creado y validado con todo rigor. Ni siquiera un especialista reconocido goza de acceso a todas las cue- vas si su presencia no queda justificada por el desarrollo de un programa de investigación. En las cuevas cerradas al público, el tiempo de permanencia es muy reducido: en Lascaux, donde solo hay investigación e intervenciones de conservación, la entrada a la cueva original se limita a 800 horas anuales de trabajo. Para entrar, deben asimismo respetarse unos protocolos muy precisos: hay circuitos para limitar los desplazamientos, y han de llevarse puestos, obligatoriamente, unos equipos concretos: monos desechables esterilizados, luminarias de baja temperatura, etc. En todos los casos, por encima del conocimiento científico prima siempre la conservación de la cueva, de sus obras y de sus restos. El arte de reproducir el Arte PARED | PIGMENTO | PIXEL Grotte Chauvet-Pont d’Arc, escáner lasergramétrico en situación. Foto: V. Feruglio, MCC Construir los recursos: el clon digital de la cueva Se utilizan métodos de captura tridimensional (3D) para construir un clon digital de la cueva, denomi- nado MDT (Modelo Digital del Terreno).
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