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Universidad Central Del Ecuador Facultad De Artes UNIVERSIDAD CENTRAL DEL ECUADOR FACULTAD DE ARTES CARRERA DE ARTES PLÁSTICAS INFLUENCIA DEL SIMBOLISMO EN EL ARTE ECUATORIANO TESIS PREVIA A LA OBTENCIÓN DE LA LICENCIATURA EN ARTES PLÁSTICAS VERÓNICA MARCELA AGUINAGA YÉPEZ TUTOR: MANUEL ESTEBAN MEJÍA ESPINOZA QUITO, SEPTIEMBRE DE 2013 DEDICATORIA A Dios, padre creador y artista supremo universal, cuya luz ha guiado mi vida y mis manos. A mi esposo, quien desde siempre me ha apoyado, estimulado y ayudado, compartiendo siempre juntos este amor al arte. A mis padres, quienes desde pequeña motivaron e impulsaron lo que soy, lleván- dome a lugares soñados en los que admiré las maravillas del arte y su historia. Y sobre todo a Carmen Amelia, principal fuente de inspiración, estímulo y fuerza para concluir este trabajo. ii AGRADECIMIENTO Agradezco al Licenciado Manuel Esteban Mejía, quien desde hace mucho tiempo, cuando fue mi profesor, supo acrecentar mi apreciación del arte. Ahora, siendo mi director en esta tesis, la supo dirigir paciente y sabiamente. Con su conocimiento y su guía fue de gran ayuda en toda esta inves- tigación. iii AUTORIZACIÓN DE LA AUTORÍA INTELECTUAL Yo, Verónica Marcela Aguinaga Yépez en calidad de autora del trabajo de investigación o tesis realizada sobre “INFLUENCIA DEL SIMBOLISMO EN EL ARTE ECUATORIANO”, por la presente autorizo a la UNIVERSIDAD CENTRAL DEL ECUADOR, hacer uso de todos los con- tenidos que me pertenecen o de parte de los que contienen esta obra, con fines estrictamente aca- démicos o de investigación. Los derechos que como autor me corresponden, con excepción de la presente autorización, segui- rán vigentes a mi favor, de conformidad con lo establecido en los artículos 5, 6, 8, 19 y demás per- tinentes de la Ley de Propiedad Intelectual y su Reglamento. Quito, a 26 de septiembre de 2013 __________________________ FIRMA C.C. 170692365-1 Telf: 2459 461 / 0999 929 834 Email: [email protected] iv APROBACIÓN DEL TUTOR En mi carácter de Tutor de la Tesis de Grado, presentada por Verónica Marcela Aguinaga Yépez para optar el Título de Licenciada en Artes Plásticas cuyo título es “INFLUENCIA DEL SIMBO- LISMO EN EL ARTE ECUATORIANO”. Considero que dicha Tesis reúne los requisitos y méri- tos suficientes para ser sometida a la presentación pública y evaluación por parte del jurado exami- nador que se designe. La línea de investigación en la que se enmarca este trabajo es: las artes en la historia y en la época actual y su proyección futura. En la ciudad de Quito, a los 26 días del mes de septiembre de 2013. ………………………….. Firma Manuel Esteban Mejía Cd. Nº…………………… v ÍNDICE Páginas Preliminares Pág. DEDICATORIA ................................................................................................................................ ii AGRADECIMIENTO ....................................................................................................................... iii AUTORIZACIÓN DE LA AUTORÍA INTELECTUAL ................................................................. iv APROBACIÓN DEL TUTOR ........................................................................................................... v ÍNDICE ............................................................................................................................................. vi ÍNDICE DE GRÁFICOS ................................................................................................................ viii RESUMEN ........................................................................................................................................ xi ABSTRACT ..................................................................................................................................... xii INTRODUCCIÓN ............................................................................................................................. 1 CAPÍTULO I: ORÍGENES DEL ARTE SIMBOLISTA 1.1. ANTECEDENTES. ................................................................................................................ 3 1.2. FUNDAMENTOS Y CAUSAS. ............................................................................................ 7 1.3. SITUACIÓN SOCIAL, POLÍTICA Y CULTURAL DE EUROPA (1880–1900) ................ 9 CAPÍTULO II: CONCEPTOS GENERALES 2.1. BASES TEÓRICAS DEL MOVIMIENTO. ........................................................................ 16 2.2. CARACTERÍSTICAS GENERALES DEL ARTE SIMBOLISTA. ................................... 20 CAPÍTULO III: EL ARTE SIMBOLISTA EUROPEO 3.1. PRECURSORES DEL ARTE SIMBOLISTA. .................................................................... 24 vi 3.1.1. Gustave Moreau. .......................................................................................................... 25 3.1.2. Pierre Puvis de Chavannes. .......................................................................................... 27 3.1.3. Odilon Redon. .............................................................................................................. 29 3.1.4. Eugène Carrière. ........................................................................................................... 32 3.2. LA PINTURA SIMBOLISTA. ............................................................................................ 35 3.3. LA ESCULTURA SIMBOLISTA. ...................................................................................... 44 3.3.1. Auguste Rodin. ............................................................................................................. 44 3.3.2. Georges Minne. ............................................................................................................ 45 3.3.3. Adolf Gustav Vigeland. ................................................................................................ 47 3.3.4. Carl Milles. ................................................................................................................... 49 3.3.5. Ivan Meštrovi ć. ............................................................................................................. 51 3.3.6. Aristide Maillol. ........................................................................................................... 52 3.3.7. Charles Despiau. ........................................................................................................... 55 3.3.8. Escultores simbolistas españoles. ................................................................................. 57 CAPÍTULO IV: INFLUENCIAS EN EL ARTE EUROPEO 4.1. ARTISTAS INFLUENCIADOS POR EL SIMBOLISMO. ..................................................... 59 4.1.1. Paul Gauguin. ............................................................................................................... 59 4.1.2. Vincent van Gogh. ........................................................................................................ 65 4.1.3. Henri de Toulouse-Lautrec. .......................................................................................... 70 4.1.4. James Ensor. ................................................................................................................. 72 4.1.5. Edvard Munch. ............................................................................................................. 74 4.1.6. Ferdinand Hodler. ......................................................................................................... 78 4.1.7. Pablo Picasso. ............................................................................................................... 80 vii 4.2. EVOLUCIÓN DEL ARTE SIMBOLISTA HACIA OTRAS TENDENCIAS. ................... 83 4.2.1. La Escuela de Pont-Aven y los Nabis. ......................................................................... 83 4.2.2. El Art Nouveau y Jugendstil. ....................................................................................... 87 CAPÍTULO V: INFLUENCIAS EN LA PINTURA ECUATORIANA 5.1. ¿ENCONTRAMOS SIMBOLISMO EN LA PINTURA ECUATORIANA? ..................... 95 5.2. ARTISTAS ECUATORIANOS INFLUENCIADOS POR EL SIMBOLISMO. .............. 110 5.2.1. Víctor Mideros. .......................................................................................................... 110 5.2.2. Camilo Egas. .............................................................................................................. 111 5.2.3. Pedro León. ................................................................................................................ 113 5.2.4. Manuel Rendón Seminario. ........................................................................................ 114 5.2.5. José Abraham Moscoso. ............................................................................................. 115 5.2.6. Luis Mideros. ............................................................................................................. 116 5.2.7. Galo Galecio. .............................................................................................................. 116 5.2.8. Luis Wallpher Bermeo. .............................................................................................. 117 5.2.9. César Andrade Faini. .................................................................................................. 117 5.2.10. Jaime Andrade Moscoso. ........................................................................................... 117 5.2.11. Oswaldo Guayasamín. ................................................................................................ 118 5.2.12. Eduardo Solá Franco. ................................................................................................
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