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La España Negra De Franco, Otros Ensayos

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La España Negra De Franco, Otros Ensayos LuiS QuiNtANilla LA ESPAÑA NEGRA DE Introducción de Esther López Sobrado FRANCO LuiS QuiNtANilla LA ESPAÑA NEGRA DE Introducción de Esther López Sobrado FRANCO Para Laura, que se me ha hecho imprescindible. «La libertad no hace felices a los hombres, los hace sencillamente hombres». manuel azaña «Ha de advertirse a los tímidos y vacilantes, que el que no esté con nosotros, está contra nosotros, y que como enemigo será tratado. Para los compañeros que no son compañeros, el movimiento triunfante será inexorable». general emilio mola 9 LuiS QuiNtANilla Arte y compromiso Podríamos considerar las citas que encabezan este estudio como las coordenadas en las que se inscribe esta colección de dibujos, conocida como Franco’s Black Spain: el ansia de libertad, perseguida en todo momento por Luis Quintanilla, y la ausencia de ella, impuesta por los vencedores de la Guerra Civil. La dura represión ejercida por los golpistas y la supresión de libertades convirtió a miles de personas en sombras cosificadas, ajenas a los más esenciales e invulnerables derechos humanos. Mientras en el mundo sigan existiendo guerras e injusticias, los artistas deberán involucrarse, comprometerse y encontrar el modo de que su arte cumpla con el deseo que manifiesta Shakespeare enEl Rey Lear cuando exclama: «Oh, si mi lengua estuviera en la boca del trueno, entonces mi cólera sacudiría el mundo».1 La pluma de Luis Quintanilla pretende 1— Zinn, Howard: Artistas en tiempos de guerra y sacudir al mundo, mostrando con amargura la España Negra de Franco, otros ensayos. Ediciones esa España a la que las democracias europeas abandonaron en las garras Le monde diplomatique, del totalitarismo, convirtiéndose así en la antesala de la Segunda Guerra Argentina, 2007. Mundial. El más rancio medievalismo, bajo cuyo amparo las clases privilegiadas se unieron para eliminar cualquier intento de libertad, es el que vemos desfilar por las páginas de este libro, en el que su autor no duda en denunciar a todos aquellos que colaboraron, de uno u otro modo, con Franco. Al contemplar estos dibujos podemos afirmar que Quintanilla ha legado a las nuevas generaciones la memoria gráfica de la desolación y la barbarie. AproximacióN biOGRáFiCA hAStA EL ExiLiO Luis Quintanilla (Santander, 1893 – Madrid, 1978) pasó casi la mitad de su vida en el exilio, motivo por el que poco a poco se fue olvidando al pintor escogido por el Gobierno de la República para representar a España en la Feria Internacional de Nueva York de 1939, al que encargaron realizar, al igual que había sucedido con Picasso en 1937, una pintura mural sobre la Guerra Civil que mostrara al mundo el horror que se vivía en su país, para alertar así del fantasma del fascismo que sobrevolaba Europa. Sin embargo, Quintanilla había sido hasta ese momento un pintor reconocido, sobre todo por su labor como grabador y fresquista. Luis Quintanilla es el típico ejemplo de «oveja negra»: hijo de una familia burguesa de Santander, dedicada a los negocios bancarios y al comercio con las Antillas, que abandona el proyecto paterno de convertirse 10 11 en arquitecto a favor de los estudios de náutica, con la intención primero Después de realizar el marco para Maeztu, entra de lleno en el mundo de viajar y conocer mundo y a renglón seguido poder dedicarse a la pintura. de los eruditos de la Biblioteca Nacional. De la mano de Gerardo de Alvear En 1912 llega a París, justo en el momento en que el cubismo había conoce a Jesús Domínguez Bordona, que se hallaba preparando una transformado la visión plástica tanto de los artistas como del público. exposición sobre beatos, a Enrique Lafuente Ferrari, y a Ángel Sánchez Se instala en Montmartre y conoce a Juan Gris, quien le anima a realizar Rivero.2 En 1924 consigue una beca para aprender a pintar al fresco. 2— En este ambiente obras acordes a la estética del cubismo sintético. Pero será una prostituta Permanece en Italia hasta 1926 y a su vuelta comienza su carrera como recibió el encargo de organizar la «Exposición conocida como Totó la Blonde, quien, según sus propias palabras, rescate pintor muralista, realizando frescos para el Palacio de Liria (1927), de Códices Miniados», al joven aprendiz de pintor para el mundo de la plástica. Por miedo a que el pabellón del periódico La Nación de Buenos Aires (1928), el Consulado que se inauguró en junio de 1924. pudiera alejarse de la pintura al compaginar su aprendizaje artístico con de Hendaya (1928), la Casa del Pueblo de Madrid (1931), el Pabellón de el desempeño del boxeo, ocupación que no se le daba nada mal, Totó fue Gobierno de la Ciudad Universitaria (1932), el monumento a Pablo Iglesias a hablar con el cónsul español en París para que ayudase a Luis y le alejase (1932-36) y para el hall del Museo de Arte Moderno de Madrid (1934). del dinero fácil que ganaba como boxeador. Su estancia en Italia acrecentó su conciencia social y política, sobre todo En París conoció a Degas y frecuentó a Modigliani, Chagall, Vlaminck al ser testigo de los desmanes llevados a cabo por los «camisas negras». y un largo etcétera de artistas, que le abrirán un mundo nuevo, alejado del Por ello, en 1929 ingresó en el PSOE, presumiblemente de la mano conservadurismo al que estaba habituado. de su amigo Araquistáin. Desde la capital francesa viaja a Alemania inmediatamente antes de la En la vida del pintor, 1934 es un año significativo por dos motivos: expone Primera Guerra Mundial; allí conoce en directo las obras del expresionismo en la Biblioteca Nacional su colección de grabados, inscritos en el realismo alemán, pero la contienda le devuelve a su tierra donde expone obras social que imperaba en la década de los treinta, principalmente entre el cubistas, incomprendidas por el público santanderino. Gran frecuentador grupo de artistas comprometidos con el momento histórico que les había de tertulias, pronto se incorporó en su ciudad natal a la de José Valdor, tocado vivir, y será encarcelado cuando la policía descubre en su estudio Elías Ortiz de la Torre, Miguel Artigas y Gerardo de Alvear. Este último a un importante número de miembros del Comité Revolucionario que se convertirá en amigo incondicional; no debe extrañarnos, puesto que preparaba la huelga general revolucionaria de principios del mes de octubre. era el que más se asemejaba a Luis por edad y aficiones. Alvear llegó Aprovechó los meses que pasó recluido para realizar una importante a compartir con Quintanilla el estudio que tenía en Santander, y con colección de dibujos de sus compañeros; algunos de estos retratos verían la él participó también en una tertulia de cántabros durante sus años luz en 1936 en el libro La cárcel por dentro, prologado por su amigo Julián madrileños. A esta tertulia asisten también: José Valdor, los hermanos Zugazagoitia. Este trabajo posee una innegable calidad artística, por cuanto Gutiérrez Abascal y Luis Araquistáin. Gracias a este último, su gran amigo son pulcros dibujos a lápiz que muestran el diario acontecer de los reclusos, hasta la muerte, frecuentará asimismo otra de carácter más político, con sus gestos, distracciones, ocupaciones, etcétera. Por otro lado, es un reportaje Negrín, Álvarez del Vayo, Juan de la Encina, Ciges Aparicio y Lafora. gráfico que posee la veracidad de lo fotográfico y atestigua la represión En los últimos años de la segunda década del siglo xx, recorre España sufrida en las cárceles españolas. De hecho, el fotógrafo madrileño Alfonso haciendo dibujos de temas populares, destinados a ilustrar el libro de un retrató a Quintanilla3 y a los miembros del Comité Revolucionario tras las 3— Agramunt Lacruz, hispanista francés que no llegó a publicarse, e inicia junto a su hermano rejas, pero los dibujos del pintor muestran de esa cotidianidad de las celdas Francisco: Arte y represión en la Guerra Civil española. José su intervención en el mundo del cine de la mano de Óscar Hornemann, vetada a los que no están dentro. Esas imágenes dan fe de la paradójica frase Junta de Castilla y León y quien, al frente de la casa Pathé, les encargó la elaboración de una serie de de Picasso: «El arte es una mentira que nos revela la verdad». Generalitat Valenciana, pág. 321. documentales artísticos sobre ciudades españolas. También realizó los Ese mismo año, sus amigos Ernest Hemingway y John Dos Passos decorados de la película La madona de las Rosas, de Jacinto Benavente, en 1919. expondrán en la galería Pierre Matisse de Nueva York la colección de Al año siguiente regresa a París, donde da comienzo su fraternal amistad grabados madrileños que se había mostrado en la Biblioteca Nacional. con Ernest Hemingway. Disfruta en estos momentos del bullicioso París La intención de los escritores era sensibilizar a la opinión pública para de entreguerras, conociendo a un importante número de artistas afincados conseguir liberar al pintor; la presión ejercida desde el extranjero por 4 en Montparnasse. Junto a Juan Tellería viaja de nuevo a Berlín. Y es en esa éstos y otros amigos —como Lady Asquit, esposa del que fuera premier 4— Ambos escritores década cuando aprende dos nuevas técnicas: bajo la supervisión de Pablo británico, y madre de una de sus amantes, o Madame Vandervelde, esposa promovieron una campaña de recogida de firmas entre Arrierán, se inicia en el repujado de cuero, que le llevará en 1922 a España del socialista belga— consiguió su pronta liberación en mayo de 1935. reconocidas personalidades para realizar el marco de cuero para el tríptico Lírica y Religión de Gustavo El estallido de la Guerra Civil sorprenderá a Luis Quintanilla dando de la vida cultural, como sus últimas pinceladas a los frescos del monumento a Pablo Iglesias Henri Matisse, Thomas de Maeztu, y aprende también la técnica del grabado a buril junto al pintor Mann, Sinclair Lewis o y grabador francés André Duyonac de Segonzac.
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