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Fuentes De La Literatura Grecolatina En La Pintura De Edward Burne-Jones Y John William Waterhouse

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Fuentes De La Literatura Grecolatina En La Pintura De Edward Burne-Jones Y John William Waterhouse UNIVERSIDAD DE MÁLAGA Departamento de Filología Griega, Estudios Árabes, Lingüística General, Documentación y Filología Latina Facultad de Filosofía y Letras TESIS DOCTORAL __________________________________________________ _ FUENTES DE LA LITERATURA GRECOLATINA EN LA PINTURA DE EDWARD BURNE-JONES Y JOHN WILLIAM WATERHOUSE Leticia Bravo Banderas MÁLAGA 2015 Dirigida por el Dr. D. Francisco José Talavera Esteso y la Dra. Dª. Gema Senés Rodríguez AUTOR: Leticia Bravo Banderas http://orcid.org/0000-0002-4853-6598 EDITA: Publicaciones y Divulgación Científica. Universidad de Málaga Esta obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial- SinObraDerivada 4.0 Internacional: http://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cualquier parte de esta obra se puede reproducir sin autorización pero con el reconocimiento y atribución de los autores. No se puede hacer uso comercial de la obra y no se puede alterar, transformar o hacer obras derivadas. Esta Tesis Doctoral está depositada en el Repositorio Institucional de la Universidad de Málaga (RIUMA): riuma.uma.es ÍNDICE AGRADECIMIENTOS ........................................................................................................... 3 ABSTRACT ............................................................................................................................ 5 1. INTRODUCCIÓN ............................................................................................................... 7 1.1 OBJETIVOS ......................................................................................... 40 1.2 METODOLOGÍA ................................................................................. 41 2. ESTADO DE LA CUESTIÓN .......................................................................................... 51 2.1 PREÁMBULO ...................................................................................... 51 2.2 EL MOVIMIENTO PRERRAFAELITA: NACIMIENTO, MIEMBROS Y ETAPAS .................................................................................................. 55 2.2.1 LA HERMANDAD ........................................................................ 65 2.3 POESÍA Y PINTURA ........................................................................... 93 2.3.1 LA CUESTIÓN DE GÉNERO ....................................................... 99 2.3.2 El MITO: LA MIRADA AL PASADO Y LO FEMENINO ........ 109 2.3.3 NECESIDAD DE LA BELLEZA ................................................ 135 3. OBRAS DE TEMÁTICA MITOLÓGICA CON FUENTES EN LA LITERATURA GRECOLATINA ....................................................................................... 155 3.1. CIRCE, HECHICERAS, MAGAS, ADIVINAS…Y PENÉLOPE: EL CONOCIMIENTO ES UN DON .............................................................. 161 3.2 OTROS MARES, OTRAS AGUAS: SIRENAS, NÁYADES, NINFAS Y AMORES DESGRACIADOS .............................................................. 205 3.3 DORMIR, SOÑAR, MORIR, QUIZÁS DESPERTAR: EL VIAJE INTERIOR Y EL DESCENSO AL HADES ............................................ 271 3.4 SIN PALIATIVOS FEMME FATALES .............................................. 318 3.5 NATURALEZA, TÓMAME: SOY TU ESPOSA .............................. 331 4. CONCLUSIONES ........................................................................................................... 383 5. BIBLIOGRAFÍA ............................................................................................................. 387 5.1 BIBLIOGRAFÍA: FUENTES PRIMARIAS ...................................... 387 5.2 BIBLIOGRAFÍA: OBRAS GENERALES ......................................... 392 ANEXO I: SANTA EULALIA DE JOHN WILLIAM WATERHOUSE .......................... 404 ANEXO II: EDWARD BURNE-JONES Y JOHN WILLIAM WATERHOUSE: UNA APROXIMACIÓN BIOGRÁFICA ............................................. 421 1 2 AGRADECIMIENTOS La elaboración de un trabajo como este requiere largas horas de soledad y encierro, pero no puede hacerse solo. Son muchas las personas a las que debo agradecer el haber podido llegar hasta aquí y ver alcanzado lo que un día fue un sueño. En primer lugar al doctor D. Francisco Talavera Esteso, mi profesor, por haber depositado su confianza en mí y haberme animado y ayudado con paciencia infinita y sin descanso a pesar de los obstáculos. A la doctora Dª. Gema Senés Rodríguez por su colaboración y disposición siempre comprensiva y generosa. Al doctor D. Luis Alberto de Cuenca cuyo entusiasmo por el tema objeto de la tesis ha sido en muchos momentos valioso estímulo para continuar. A los doctores D. Juan Antonio Sánchez López, Dª. Mercedes Aguirre Castro y D. Vicente López Folgado por el regalo de sus atinadas observaciones y recomendaciones y por su aliento y afecto. A D. Gonzalo Fernández Prieto, director y propietario del Museo del Vidrio y Cristal de Málaga, por poner a mi disposición preciosos ejemplares de su biblioteca. Lo que soy se lo debo a mis padres. Para ellos mi mayor agradecimiento por su constante apoyo, por su ayuda en todas las facetas de mi vida y por haber alimentado mi inquietud con alegría y esmero todos y cada uno de los días. A mis hermanos Fernando y Paula por su incondicional respaldo. A Paula por ser mi principal y eficaz valedora en la adquisición de libros de ultramar; a Fernando por las horas de ayuda técnica con la mejor de las sonrisas. A mi gran y solidaria familia. En especial a mis tíos: Filo, Ana, Maxi, Diego y Chica por haber estado siempre ahí; por haberme hecho creer que se puede y por haberme arropado entre libros y enriquecedoras conversaciones. A mi otra familia: Paqui, Juan Pablo, Inma y Enrique porque me quieren, me ayudan y confían en mí. A mi amiga Belén Zayas, hermana en el corazón, por su ayuda material y académica, pero sobre todo por compartir tantas cosas que amamos y porque esta tesis nació en uno de esos fértiles ratos que pasamos juntas. A Sonia Pérez Escalante, antigua alumna, hoy amiga y maestra, por todo lo bueno que hemos aprendido juntas; por su asesoramiento lingüístico y por ser 3 una buscadora incansable de bibliografía para mí en su particular y permanente periplo por el mundo. A Irene Vallejo Moreu porque se hace presente siempre con hermosas palabras de ánimo y calma y por el ejemplo. A Belén García y familia por acordarse de mí en exposiciones y museos y contribuir así en sus viajes, con generosidad y afecto, a ampliar mi biblioteca prerrafaelita. A mis profesores (los que fueron, los que han sido, los que son y serán) porque sin ellos nada de esto tendría lugar. A mis alumnos por seguir con entusiasmo y alegría el desarrollo de este trabajo. Ellos son la razón que justifica el esfuerzo. En la memoria agradecida debo recordar a tres personas cuya presencia siento muy viva. A mi abuela Lola por compartir conmigo lecturas y pinceles tantos años y de ese modo, con olor a trementina, acrecentar mi deseo de saber y enseñarme a mirar. A mi abuelo Diego porque valoraba el conocimiento y la educación y se sentía orgulloso de nuestros progresos. A mi tío Luis que me recitaba en latín a Virgilio por los pasillos de la casa y, al dulce sonido del χαλεπὰ τὰ καλά, abrió para mí las maravillosas puertas de la Antigüedad. Por último, pero no por ello menos importante, a Alejandro porque su ayuda técnica, logística, doméstica y académica me ha permitido materializar este trabajo; por haber estado siempre ahí dispuesto al rescate y por este viaje lleno de buenos momentos que es la vida juntos. A Claudia y a Pablo por su amor. Y a Solomiya, a Yuliya y a Daniela. A Claudia y Pablo que todavía habitan el fabuloso territorio de la imaginación 4 ABSTRACT This doctoral dissertation aims to be a comparative analysis between the Ancient Greco-Roman mythology-themed paintings of Edward Burne-Jones and John William Waterhouse, and the Greek and Roman literary sources they are based on in order to evaluate to what extent they are similar and what are those aspects where they differ. Through the observation and analysis of these works and their sources, we get to a reflection about the image of woman deduced from them –such as the turn-of-the-century femme fatale and other female stereotypes, within the background of the birth and development of a long series of avant-garde artistic trends during the end of the 19th Century and the beginning of the 20th Century. All of these artistic movements are essential to understand the diverse artistic and cultural expressions that came afterwards, as well as multiple aspects of the society we live in nowadays. The artists whose pieces we have chosen for our analysis are related to one of these artistic trends –Prerraphaelism. Defamed and forgotten for a long time due to the success of Impressionism and other later avant-guards, the studies about the Prerraphaelites have been reviewed and revitalized by the historiography of art since the last decades of the past century, in order to bring them back to the place they deserve. Not in vain, the value and the decisive influence of their work made possible the rise of many artistic currents that could not be explained without taking them into account. Keywords: comparative analysis, Ancient Greco-Roman mythology-themed paintings, Greek and Roman literary sources, the image of woman, femme fatale, avant-garde, Prerraphaelism, review, nowadays. 5 6 1. INTRODUCCIÓN El valor y la necesidad de las obras literarias de la Antigüedad grecolatina se justifican por sí mismos: «A mi edad hay que pensar muy bien en qué se emplea el tiempo. Sigo leyendo a los griegos,
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