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El Retrat I La Mirada. El Lligam De L'individu En Un Grup Isabel Boncompte Vilarrasa

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El Retrat I La Mirada. El Lligam De L'individu En Un Grup Isabel Boncompte Vilarrasa Facultat de Belles Arts Grau en Belles Arts El retrat i la mirada. El lligam de l’individu en un grup Isabel Boncompte Vilarrasa Treball Final de Grau Tutor: Dr. Oriol Vaz-Romero Trueba Curs Acadèmic 2016-2017 Isabel Boncompte Vilarrasa NIUB 91202090 [email protected] Barcelona, juny 2017 Un retrat és un fragment de l’anima que s’atrapa, una incursió en el que és desconegut. Balthus Resum Abstract El retrat i la mirada. El lligam de l’individu en un grup. explora sobre Portrait and gaze. The connection of the individual in a group. el retrat i l’autoretrat amb especial atenció als retrats de grup, explores portrait and self-portrait with special attention to group entenent el grup com es va concebre en el retrat holandès del segle portraits, understood as the group was conceived in the XVII. M’interessen els universos particulars i grupals i en el paper de seventeenth-century Dutch portrait. I’m interested in individual and les mirades. En les lectures sobre els orígens de la representació de group universes and in the role of the gaze in artworks. Reading la persona com individu amb identitat pròpia, sobre la gènesi de about the origins of the representation of the person as an individual diversos retrats de grup i en l’observació d’ obres d’altres artistes with its own identity, on the genesis of several group portraits, and que ens han precedit he trobat punts d’unió amb els meus universos. studying works from other artists who preceded us, I have found Fruit d’aquest estudi i d’un treball d’introspecció, he desenvolupat links to My universes. With the result of this research and moments tres línies d’obra pictòrica en un marc autobiogràfic: Retrats en of introspection, I developed three lines of work on autobiographical solitari, retrats en el passat i present familiar i retrats de grup. paintings: self-portraits, family portraits, and group portraits. It’s the Catalitzadors per a la síntesi d’experiències actuals i viscudes. I inici synthesis of real experiences and the beginning of new paths to de nous camins cap al coneixement. knowledge. El retrat i la mirada. El lligam de l’individu en un grup Paraules clau: Autoretrat, Retrat de grup, Universos particulars o grupals, Símbols d’identificació, Colors de les bases. Introducció 4 Capítol 1. Història del retrat de grup a la cultura occidental entre els segles XV i XX 4 1.1. L’aparició del retrat de grup a la pintura: dels orígens flamencs fins la singularitat de Hockney 4 1.2. La revolució de la fotografia: fi o començament d’una etapa? 13 Capítol 2. Retrat de grup i autoretrat 15 2.1. Autoretrats d’artistes en grup 15 2.1.1. El pintor escindit: accions i atributs 15 2.1.2. El pintor integrador: grups d’amics d’artistes 18 2.1.3. L’artista integrat: la dissolució enmig del grup 19 2.2. L’exercici de l’autoretrat: una aproximació personal 23 2.2.1. Apunts del natural 23 2.2.2. Cicle d’autoretrats 25 Capítol 3. Conseqüències i derivacions en el meu procés creatiu 29 3.1. Els contexts i les mirades com a generadors de composició. Assaig en la meva obra de sis referents 30 3.2. La generació de les meves obres recents 32 3.2.1. Protegint el Medi 32 3.2.2. Realitats i somnis 36 3.2.3. Entramuntanats 40 3.2.4. Jugant la vida 45 3.2.5. El Sr. i la Sra. Vergés al sofà de casa 48 3.2.6. Els meus pares a Portbou 51 3.2.7. Materials emprats 54 Conclusions 55 Bibliografia 56 Il·lustracions 57 3 Introducció L’observador del quadre el recorre conduït per les mirades, les llums El meu projecte té per objectiu estudiar els llenguatges de i els colors que defineixen els volums. representació de la figura humana que més m’interessen. Experimentar-ne alguns i veure quins em resulten més eficaços per El meu projecte busca aprofundir en el retrat mitjançant tres línies transmetre l’emoció de representar l’individu, amb especial atenció de treball. L’estudi i elaboració d’autoretrats, retrats amb més d’una als retrats de grup. figura i retrats de grup. Acompanyaré la investigació amb la pràctica d’apunts del natural. Excepte en el cas dels autoretrats, parteixo de Tot i que conec artistes contemporanis que han destacat en el camp composicions d’artistes reconeguts. En els retrats amb més d’una del retrat, com ara Jean-Michel Basquiat, Marlene Dumas, Barbara figura, hi represento familiars o amics. I en els retrats de grup Kruger, Orlan, Tony Oursler, Su-enWong, JeffKoons, i en el camp de (entenent el grup com es va concebre en el retrat holandès del segle la fotografia, Rineke Dijkstra, Nan Goldin, Cindy Sherman, Tanyth XVII), hi represento un conjunt de persones dissenyat a l’atzar per Berkeley, Ana Blak, Tierney Gearon, i que els llenguatges utilitzats algú altre, però que s’ha consolidat amb lligams sòlids de respecte i per alguns, com ara, David Hockney, Albert Oehlen, Marcos Palazzi, amistat. o Andrew Wyeth m’atrauen especialment, en aquest moment vull aprofundir en el coneixement de referents de la pintura figurativa El projecte també actua com a recapitulació d’alguns moments fins a mitjans-finals del segle XX, en exemples de Van Gogh, Cézanne, intensos viscuts amb els grups representats. Moments que m’han Vuillard, Fantin-Latour, Van Gogh Lucian Freud i David Hockney. anat modelant com a persona i integrant d’aquests grups. Així Investigaré, a partir de la idea que els va portar a fer un quadre de reprenc el camí, diverses vegades entretallat, per arribar a un cadascun d’ells, la composició, les mirades, el color i els objectes. coneixement que les disciplines tècniques no m’ha donat. Entre els artistes que a principis del segle XX pinten retrats col·lectius s’hi compten Diego Rivera i José Clemente Orozco, entre altres, que Capítol 1. Història del retrat de grup a la cultura occidental entre van tractar temes politicosocials i relats èpics. Tanmateix, em sento els segles XV i XX més identificada amb la manera de fer de Remedios Varo, més autobiogràfica, simbolista i onírica, o amb el realisme màgic 1.1. L’aparició del retrat de grup a la pintura: dels orígens d’Ángeles Santos (ambdues gironines, i Angelita i jo del mateix flamencs fins la singularitat de Hockney poble: Portbou). Hi ha un moment a la història de la pintura europea en el qual Pel que fa a la composició, m’interessa estudiar la relació entre les apareixen per primera vegada individus en particular a les imatges. diverses figures que es representen, l’equilibri entre els volums dels No parlem d’éssers humans en general, ni d’encarnacions o símbols cossos, la relació dels gestos i de les mirades. Em crida l’atenció la morals o socials, sinó de persones concretes. És llavors que neix el mirada de les persones representades individualment: miren el gènere del retrat. Això, deixant de banda la pintura romana, va retratista, un objecte, es miren en un mirall? Geomètricament, creen passar a principis del segle XV al llavors ducat de Borgonya (Todorov, una línia recta (que en el cas de la mirada al retratista, pot convertir- 2006: 10-11). se en un punt). Emocionalment, expressen una actitud, una voluntat, En el món antic, en el marc de l’art funerari, el retrat un caràcter, un missatge, però amb intenció de transmetre la seva commemoratiu, destinat als que havien conegut el difunt, havia de essència personal, fins i tot si la indumentària o l’acció és relativa a ser fidel i reproduir les particularitats de la persona. En canvi, el una professió o un interès concret. retrat glorificador, adreçat als que no havien vist el model, era més autònom, havia de tenir algun detall que identifiqués la persona Les persones en un grup: Miren el retratista?, el company proper?, representada i la representació havia d’afavorir el representat el company llunyà?, els objectes?, tenen la mirada perduda?... La (Todorov, 2006: 22). persona en un grup, diferentment de quan es retrata sol, mostra Com l’art romà, el cristianisme medieval accepta la representació més fàcilment una part de la seva realitat, la raó per la qual resta humana si té per objectiu transmetre les idees religioses i polítiques unit al grup. Una faceta, un ofici, una afició. Geomètricament, es (Todorov, 2006: 38). Permet representar la divinitat mentre no es generen un conjunt de línies i punts, lligats formant polígons tancats confongui amb una representació del món real, sempre aïllats del o línies trencades. Conjuntament, creen un pla, un conjunt de plans i context quotidià on viuen els pintors i els espectadors. línies o figures guerxes (no contingudes en un pla). El conjunt d’aquests recorreguts dona una profunditat que ha de quedar La representació és del tipus glorificador (Todorov, 2006: 39). explicada amb la llum i el color. Tanmateix, arran de l’edicte de Teodosi, que prohibeix els cultes pagans i la representació de les imatges que els acompanyen, 4 després d’un període florent des del segle VI a. C. fins al segle IV de la nostra era (Riegl, 1992: 310), el retrat entra en una fase de declivi. Mil anys després, el retrat a Europa renaixerà. Guillem d’Occam (1290-1348) serà el primer pensador influent que concebrà l’autonomia del món respecte de la llibertat absoluta de Déu. De fet, aquest principi teològic enllaçaria en darrer terme amb les creences filosòfiques paganes, segons les quals la voluntat dels déus no està directament implicada en la naturalesa del món existent.
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