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Universidad De Granada Influencias Del Arte Latinoamericano Del Siglo Xx En Europa Y Estados Unidos

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Universidad De Granada Influencias Del Arte Latinoamericano Del Siglo Xx En Europa Y Estados Unidos UNIVERSIDAD DE GRANADA FACULTAD DE BELLAS ARTES “ALONSO CANO” DEPARTAMENTO DE PINTURA. INFLUENCIAS DEL ARTE LATINOAMERICANO DEL SIGLO XX EN EUROPA Y ESTADOS UNIDOS. Tesis Doctoral de: M CARMEN CASAS ÚBEDA. Director: Don ANTONIO PEREZ PINEDA. 1 M. Carmen Casas Úbeda, 2003. Tesis Doctoral: INFLUENCIAS DEL ARTE LATINOAMERICANO DEL SIGLO XX EN EUROPA Y ESTADOS UNIDOS. I.S.B.N. 84-688-2912-9 Depósito Legal: GR-1331/03. 2 A mi Familia: Por transmitir ilusión y alegría en los momentos de desánimo. Su apoyo incondicional ha sido el hilo conductor que ha producido este trabajo. 3 4 ÍNDICE TEMÁTICO: Agradecimientos. 7 Presentación 9 Introducción. 13 Metodología: Concepto de influencia. 17 Objetivos. 23 Capítulo I: Ambiente histórico, político social. Finales del siglo XIX y primer cuarto del siglo XX. Efectos en el mundo artístico. 25 1.1 Mestizaje racial y cultural en Latinoamérica. 25 1.2 Conciencia de pueblo Latinoamericano. 27 1.3 Europa y Estados Unidos. Ambiente histórico-político-social. Últimos años del siglo XIX. 29 1.4 Transformación en el arte. 30 1.5 Siglo XX. 31 1.6 Fundamentos de los cambios que se experimentan. 32 1.7 Vanguardias artísticas del siglo XX. 34 1.8 La historia continúa. 42 1.9 Movimientos artísticos en el periodo entre guerras. 43 Capítulo II: Muralistas mexicanos. Relación con el arte norteamericano de los años 30. Proyecto New Deal. 47 2.1 Muralistas mexicanos. 49 2.2 Años 30 en Estados Unidos. Proyecto New Deal. 56 Muralistas norteamericanos. 58 El arte de la marginación. 64 Tendencia individualista. 68 5 Capítulo III: Percepción del Surrealismo. Interpretaciones y derivados. 75 3.1 Surrealismo. 75 3.2 Relación del Surrealismo con Latinoamérica y Estados Unidos. 79 3.3 Figuras emblemáticas: Wifredo Lam y Roberto Matta. 85 Wifredo Lam 85 Roberto Matta. 89 3.4 Expresionismo Abstracto. 93 3.5 El exilio surrealista en Latinoamérica. 100 Algunos europeos. 101 Españoles en el exilio. 103 Capítulo IV: Evolución del Constructivismo. 109 4.1 Breve introducción histórica. 109 4.2 Joaquín Torres García. 111 4.3 Movimiento MADI. 121 Francia. 126 España. 127 Italia. 136 Hungría. 137 Estados Unidos. 138 Capítulo V: Simbiosis y Transformaciones. 143 5.1 Crisis. 143 5.2 Informalismos paralelos. 145 5.3 Influencia latinoamericana en el Postmodernismo. 153 Conclusiones. 159 6.1 Comentarios sobre el Arte Contemporáneo. Crítica y autocrítica. 159 Bibliografía. 167 Catálogo de imágenes. 171 6 AGRADECIMIENTOS: Gratitud le debo al sol, a la lluvia, las mañanas frescas, fuerza renovadora de ilusiones y energía para continuar. No puedo olvidar el mar, los viajes, la casualidad que me han hecho percibir todo este intrincado universo mágico de relaciones e interrelaciones en el mundo en general y en el arte particularmente. Reconozco y agradezco profundamente la labor de Don Antonio Pérez Pineda, el Director de este trabajo. Con sus acertados consejos y orientaciones, basados en un paciente estudio de los bocetos previos que yo le entregaba, he conseguido concluir un trabajo que entrañaba muchas dificultades, por la gran dispersión de fuentes. Me ha dado, así mismo, seguridad en el valor de mis investigaciones y las conclusiones a las que he llegado. Sin esta confianza depositada sobre la labor que estaba realizando, seguro que no habría podido concluir. Las orientaciones generosas y desinteresadas sobre la estructuración de la bibliografía general y de capítulo, se las debo a José Luís Sánchez Lafuente a quién conocí a través de mi Director de Tesis. Sin olvidar a Carmen, secretaria del Departamento de Pintura, por su atención y diligencia en las gestiones. Como ya se ha visto en la dedicatoria, es en mi Familia, donde he encontrado el soporte necesario para poder trabajar. El apoyo moral recibido, ha sido un motor que me ha ayudado en todo momento a ver la luz. Concha, no quiere aparecer en esta dedicatoria, es muy tímida y modesta, pero tengo que mencionarla porque siempre ha confiado, más que yo, en que conseguiría terminar este trabajo y me ha dado muy buenos consejos. También a Don Eduardo Quesada, Secretario del Tribunal que ha juzgado la defensa de esta Tesis, por su admirable amor y entrega al trabajo que desempeña en todas sus facetas. Es un ejemplo a seguir. Como lo es el resto de personas que han formado parte del Tribunal: Dr. D. Joán Peiró López, Dr. D Manuel Sánchez Arcenegui, Dra. Dña. Rosa Brun Jaén, Dr. D. Domingo Oliver Rubio. Con sus acertadas observaciones y consejos, creo que en el futuro podré enriquecer considerablemente este trabajo. Por último, quiero recordar a Mª José Clemente y Francisco Torres, sin cuyo estímulo en un momento muy determinado, no habría podido llegar hasta aquí. Gracias a todos. 23 de Septiembre de 2003. 7 8 PRESENTACIÓN: “Verbo América corresponde a la idea de que América no es solamente un continente, un espacio, sino que es el tiempo. Si el espacio es la materia, el sustantivo, el verbo viene a ser la energía, el tiempo. El Mediterráneo es, en definitiva, un campo magnético, y se da la circunstancia de que en el Mediterráneo y en América, yo hallo las mismas cosas. Los hombres mediterráneos más emprendedores, más preocupados, fueron los que alcanzaron América en una especie de diáspora; sucedió lo mismo en sentido contrario, como si existieran vasos comunicantes. Una diáspora que va y viene, que viene y va. Con antepasados que han nacido aquí y otros que han nacido allá”. (...) MATTA, abril 1983 1. La idea de este tema fue surgiendo poco a poco a lo largo de los cinco años que antes duraba la carrera de Bellas Artes. Según iba adquiriendo algunos conocimientos, nunca suficientes, sobre arte contemporáneo nacían interrogantes como: ¿qué causas motivaron la ruptura con las normas academicistas?, ¿cual fue el apoyo para sustentar estos cambios?, ¿por qué solo se mira y se investiga la influencia de culturas orientales o africanas en el arte contemporáneo?; si tradicionalmente Europa ha sido lugar de formación de latinoamericanos ¿no es posible que ellos dejasen aquí su particular punto de vista?. El caos que encontraron, las dudas que atenazaban a los artistas europeos, favorecieron enormemente la toma de conciencia del valor de sus orígenes y a ellos se volvieron con gran energía para crear un nuevo lenguaje. En un primer momento, pensé trabajar únicamente con la riqueza cultural mexicana, empezando por las culturas precolombinas, para ver qué retomaron de ellas los muralistas como refuerzo de su mensaje patriótico y, a continuación, estudiar sus influencias, si es que las hubo. Luego pensé centrarme solo en los movimientos mexicanos de ruptura, con el fin de observar en que medida se han visto reflejados sus esfuerzos en Europa y Estados Unidos. Pero intuía que el tema tenía un alcance mayor, mucho más interesante. La clave me la dio el conocimiento casual de la obra de Torres García y Roberto Matta. Decidí que el trabajo debía tomar un camino más 9 amplio, aún a riesgo de no poder abarcarlo todo. Poco a poco fui acumulando información que creía relacionada con él. Muchas veces he pensado que no caminaba hacia parte alguna. Llegó un momento en que me pareció que todo se reducía a simples antojos o locuras y abandoné esta labor por un periodo de dos años o más. Pero en un viaje que realicé a Amboise (Francia), me encontré con una sorpresa a mis ojos, en principio, increíble. En un parque, entre árboles, había una fuente construida por encargo del ayuntamiento, cuyo autor era Max Ernst (lám 1). Los elementos escultóricos antropomorfos creo que no pueden negar su inspiración en obras de la arqueología precolombina interpretadas por Tamayo o Roberto Matta. Esta visión me empujó de alguna manera a seguir con este trabajo, con el cual no pretendo cambiar la historia solo abrir caminos o crear nuevos puntos de vista si ello es posible. Son numerosas las obras de arte del siglo XX que presentan indiscutibles influencias latinoamericanas: el problema nos lo encontramos cuando observamos que la documentación que refute la tesis es escasa, no existe o niega en redondo tal idea, como es el caso de encontrar una fuente de cerámica en la fábrica de O Castro (La Coruña), con evidentes reminiscencias prehispánicas –por otra parte nada raras en un gallego-, pero cuyo autor Francisco Xosé Pérez Porto niega reconocer esa influencia, pues, supuestamente, la ascendencia es celta (lám 2). ¿Qué está pasando?; ¿por qué nos cuesta tanto reconocer el enriquecedor intercambio cultural?. En general, en el común de los españoles se da este fenómeno. Es evidente que en España las vanguardias y posteriores movimientos artísticos, han evolucionado de una determinada manera, distinta a la evolución producida en el resto de Europa, gracias a nuestro particular bagaje cultural e histórico, fruto del mestizaje continuado y persistente, en el que está incluida la relación con el Nuevo Mundo. Verdaderamente esta ausencia de un material de apoyo claro, me ha producido mucha inseguridad. Expresar con palabras el conjunto de influencias, reinfluencias y confluencias, es una tarea ardua y difícil si a la vez se pretende conseguir un trabajo claro y de fácil lectura. Me he regido por el tradicional sistema historicista a la hora de desarrollar la tesis, a sabiendas de que no es exactamente la orientación que me hubiera gustado dar a este trabajo, pues considero que es una estructuración artificiosa y poco fiable. Si bien me ha servido para trabajar sin perder el hilo, también ha coartado en muchos momentos mi libertad de opinión considerando que estas podían ser demasiado atrevidas, arriesgadas, carentes de fundamento. La luz la vi en el momento en que mi Director de tesis me dijo que perdiese el miedo y expresara libremente mis pensamientos, si tenían un fundamento lógico y posible dentro de los parámetros en que se mueven este tipo de transmisiones de conocimientos.
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