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Redalyc.AUGUSTE RODIN, EL CARÁCTER ESPECÍFICODE SU Quintana. Revista de Estudos do Departamento de Historia da Arte ISSN: 1579-7414 [email protected] Universidade de Santiago de Compostela España Núñez Rodríguez, Manuel AUGUSTE RODIN, EL CARÁCTER ESPECÍFICODE SU PROCESO CONFIGURATIVO Quintana. Revista de Estudos do Departamento de Historia da Arte, núm. 13, 2014, pp. 101-117 Universidade de Santiago de Compostela Santiago de Compostela, España Disponible en: http://www.redalyc.org/articulo.oa?id=65342954006 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto AUGUSTE RODIN, EL CARÁCTER ESPECÍFICO DE SU PROCESO CONFIGURATIVO Manuel Núñez Rodríguez Universidade de Santiago de Compostela RESUMEN En este estudio se trata de analizar los diferentes factores que influyeron en la obra de Rodin, así como sus principales innovaciones como escultor, tanto en el tratamiento de las obras como en los diferentes factores que predominaron en el artista francés, con el que creó una obra rica en matices plásticos e innovadora en el mundo de finales del siglo XIX. Palabras clave: Rodin, mano in pronazione, ritual de harmiscara, comportamiento kinésico, sinestesia ABSTRACT This study sets out to analyse the various factors that influenced the work of Rodin and his main innovations as a sculptor, both in the treatment of his work and his influences, which he drew on to create art that was both rich in visual nuance and groundbreaking for the late nineteenth century. Keywords: Rodin, mano in pronazione, harmiscara rite, kinesic behaviour, synaesthesia Para formular el orden de ideas y de senti- concordar el progreso de los derechos socia- mientos que confirman las experiencias plásticas les en combinación con una serie de leyes que de Auguste Rodin (1840-1917), se dispone de alentaran las libertades del ciudadano y de las las conversaciones mantenidas y posteriormen- partes necesarias que toda independencia exige te publicadas con Paul Gsell, Étienne Dujardin- para conformar un todo en el que participase Beaumetz, Camille Mauclair, su secretario Rainer por igual el sentido de la intencionalidad y de María Rilke…; nombres a los que hay que añadir la responsabilidad. Por otro lado, consagrada el no mencionado Émile-Verhaeren, poeta belga la soberanía nacional sobre los valores origina- y crítico de arte, amigo de Rilke, Bertold Brech, rios de la filosofía del Siglo de las Luces y de la Paul Valery, Rimbaud. Junto con estos autores, Revolución Francesa, existe una controversia sin que tanto contribuuyeron a explorar diferentes resolver, y que considera que a ésta no hay que aspectos de su vida y obra, también interesa des- juzgarla, pero sí comprenderla. Sin embargo, tacar la realidad de aquella situación intelectual cuando Maurice Agulhon analizaba “quiénes y política, como fue la desplegada en la Tercera eran dignos de un reconocimiento nacional en República (1880-1920), momento en el cual Ro- la III República”1, no dudaba en pronunciarse din y los pintores impresionistas conformaron la por la puntual correspondencia de la Revolución primera generación de artistas con entidad pro- con un logro que también estaba impregnado pia bajo este modelo político. de la filosofía del Siglo de las Luces, de todo un Los nuevos postulados teóricos de esta de- ideal de Razón, de fe entendida como progre- mocracia liberal, habrían de abordar principios so, de civismo, de filantropía y, por lo mismo, que constituyeron el fundamento de la misma; no resultaba desconcertante la valía de quienes así, la puesta en vigor de cuanto cooperase a eran merecedores de honores públicos confor- QUINTANA Nº13 2014. ISSN 1579-7414. pp. 101-117 102 Auguste Rodin, el carácter específico de su proceso configurativo me a los aspectos emanados de su propia bio- percepción del proceso escultórico de Auguste grafía; valoración a resaltar, por ejemplo, en Rodin manifiesta un cambio indiscutible con las Víctor Hugo, inhumado con descomunal cortejo expresiones de las posturas tradicionalistas (los en el Panteón el 1 de junio de 1885, con la cir- dogmatismos de la escuela académica), proce- cunstancia particular de encargos escultóricos a diendo, por una parte, a ecos (nunca referencias Rodin sembrados de desacuerdos por cuestiones serviles) del arte greco-romano para poner en un de ajuste2. Ahora bien, la indiscutible valoración juego de correspondencias con sus búsquedas. totalitaria es que su Víctor Hugo es Historia, y, en Pero en este escultor que metamorfoseó el equi- consecuencia, pasaría a ser, como diría Voltaire, librio en tensión, para lograr los gestos tensos y prueba tangible de la “inmortalidad liberadora privilegiaba la contorsión violenta, fue notable su Manuel Núñez Rodríguez Manuel sobre el olvido”; nunca fugaz o perecedera. estudio de la experiencia de las obras de Miguel Esto supone resaltar algunas cuestiones Ángel, durante su estancia en Italia, donde habrá esenciales, en un momento de reafirmación y de explayarse su genio para sacar a la escultura consolidación de la República por tercera vez en de su entumecimiento y lograr un arte-vivo, en Francia, una vez cancelado el Segundo Imperio, su configuración tridimensional. Es decir, es ne- después de la humillante derrota de Napoleón cesario el contacto directo con el día y la hora, lo III ante Prusia en Sedán el 4 de septiembre de que otorga movimiento, luz y color. Tres factores 1870; capítulo que conlleva la pérdida de Alsacia determinantes para experimentar la obra en el y Lorena. Situación que hubo de afrontarse con espacio real y convertirla en obra no museable. espíritu cívico, como era el deber de afirmarse Esta apertura hacia la modernidad, supone en la línea de las responsabilidades mediante el la sinestesia o conexión cerebral específica entre sacrificio de los intereses particulares ante la co- forma, actitudes y movimientos, luz y color, so- munidad. En cambio esto no fue posible hasta nido y armonía. Cruce que marca una imagen alcanzar el momento en que la nueva República de palpitación vital. Así su Puerta del infierno quedara definitivamente instalada el 30 de ene- (obra sin rematar y encargada en 1880), como ro de 1879, en contrapunto a la falsa república también los Burgueses de Calais (conjunto ini- de Thiers (1871-1873) y de Mac-Mahon (1873- ciado en 1884/1885 e inaugurado el 3 de ju- 1879). Obvio es decir que, superados esos nueve nio de 1895), a manera de ejemplos, suscitan años, el cometido decisivo de los republicanos un vínculo con la visión romántica de aquel s. moderados conquistaron los votos de los ciuda- XIX. Ahora bien, cada una de estas obras esta- danos para constituir la mayoría parlamentaria ba endeudada con la literatura (Dante, Virgilio, y obtener por votación las leyes que habrían de Baudelaire, J. Le Bel, J. Froissart) y, sobre todo, asegurar las libertades fundamentales, para ver realizaba un cambio indiscutible en la interpre- cumplida la realidad de ser libres en el empleo tación totalitaria de la figura humana al orientar de las facultades mentales y en los hechos aso- la escultura hacia nuevos horizontes. Y si cierto ciados a las acciones notables, lo que impuso era que reconocía “no haber aprendido la es- librarse de tradiciones y convencionalismos. En cultura en las academias”, su amplia experiencia este contexto, es probable que resulten impres- en la visita a museos le permitía confirmar “He cindibles las palabras de Diderot, por cuanto fue- oscilado mi vida entre las grandes tendencias de ron ideas muy claras y reglamentadas desde una la estatuaria, entre la concepción de Fidias y la posición de búsqueda: “instruir a una nación, es de Miguel Ángel”. Perspectiva que no abarcaría también civilizarla”. Y si se trata de reconstruir la realidad total si se omite que, este heredero una sociedad sobre nuevas bases, las libertades de los grandes románticos, también relaciona su son esenciales para que civilización, amor al sa- experiencia y conocimiento con el mundo gó- ber y democracia permanezcan inseparables y no tico. resulten vacías de sentido. Además de estos logros, ¿cuáles eran sus En este contexto, se entenderá mejor la pautas de investigación y las ideas a las que sue- realidad demostrada por Rodin, los pintores im- le ajustar la visión de sus realizaciones? Si se con- presionistas, la propia música de Debussy… La sidera su propia manifestación, QUINTANA Nº13 2014. ISSN 1579-7414. pp. 101-117 Auguste Rodin, el carácter específico de su proceso configurativo 103 soy cazador de la verdad y observador de la indica varias veces este autor– por el efecto vida. Me abstengo de imitar la realidad. Presto “inconmensurabilidad del bosque”, percepción atención a cuanto averiguo en la existencia (el vi- sensorial que prolonga un concepto manifiesto vir), pero yo no soy quien asigna, es el sentimiento en su momento por el propio Auguste Rodin5. quien influye en mi visión. Pero el artista no per- cibe la verdad como ella se muestra al común de El proceso escultórico de Rodin, tanto en los mortales, puesto que su emoción le revela la los organismos corporales conjuntos como en verdad interior bajo las apariencias, mientras que las obras carentes de algún miembro, ponía de el mediocre mira sin ver. manifiesto a un modelador nato, cuya materia preferida era la arcilla o la cera, que era poste- La nación quedaba por consiguiente entre riormente trasladada al bronce; en una última Núñez Rodríguez Manuel 1880 y 1920 asentada sobre los valores que ha- etapa pasaría a producir obras en mármol, con brían de contribuir al enraizamiento de la nueva superficies quebradas y sans fini en las que la luz República; pautas que además de suponer una y el conjunto de sombras y reflejos manifiestan defensa del laicismo, el sufragio universal y, en el sentimiento de un movimiento virtual.
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