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Conrad Martens, Un Paisajista En El Fin Del Mundo. Las Imágenes Y El Viaje Del Beagle (1831-1836)

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Conrad Martens, Un Paisajista En El Fin Del Mundo. Las Imágenes Y El Viaje Del Beagle (1831-1836) MAGALLANIA (Chile), 2020. Volumen especial. El viaje de Magallanes, 1520-2020: 167-192 189 CONRAD MARTENS, UN PAISAJISTA EN EL FIN DEL MUNDO. LAS IMÁGENES Y EL VIAJE DEL BEAGLE (1831-1836) MARTA PENHOSa RESUMEN Este artículo pone foco en la producción artística de Conrad Martens (1801-1878) en el marco de la segunda etapa del viaje del Beagle (1831-1836). Martens integró la expedición entre 1833 y 1834 durante uno de los relevamientos en Patagonia y Tierra del Fuego. Se parte de la premisa de que en los viajes y expediciones de la modernidad, especialmente de los siglos XVIII y XIX, las imágenes fueron factores decisivos de la construcción, transmisión y difusión de conocimientos científicos y elaboraciones artísticas sobre espacios no europeos y sus habitantes. El examen de las acuarelas y dibujos de Martens y de otras fuentes visuales y textuales se utiliza para poner a prueba la hipótesis de que la formación como paisajista del pintor entró en tensión con la observación de espacios con características alejadas de los modelos artísticos vigentes en Europa a principios del siglo XIX. PALABRAS CLAVE: Martens, Beagle, imágenes, Tierra del Fuego. CONRAD MARTENS, A LANDSCAPE PAINTER AT THE END OF THE WORLD. IMAGES AND THE VOYAGE OF BEAGLE (1831-1836) ABSTRACT This article focuses on the artistic production of Conrad Martens (1801-1878) during the second stage of the Beagle’s voyage (1831-1836). Martens was part of the expedition between 1833 and 1834 during one of the surveys in Patagonia and Tierra del Fuego. This work is based on the premise that images were important factors in the construction, transmission and dissemination of scientific knowledge and artistic elaborations about non-European spaces and their inhabitants in the journeys and expeditions of modernity, especially in the 18th and 19th centuries. The examination of the watercolors and drawings of Martens and other visual and textual sources is used to test the hypothesis that the painter’s training as landscape painter was in tension with the observation of spaces with characteristics far from the current artistic models in Europe at the beginning of the 19th century. KEY WORDS: Martens, Beagle, images, Tierra del Fuego. a Facultad de Filosofía y Letras, Universidad de Buenos Aires/Instituto de Investigaciones sobre Patrimonio Cultural, Universidad Nacional de San Martín (Argentina). [email protected] 190 M. PENHOS INTRODUCCIÓN de cuatro fueguinos, su estancia en Inglaterra, la muerte de uno de ellos, y la restitución de Después de ingentes preparativos que los otros tres a Tierra del Fuego en el segundo llevaron meses, el 22 de mayo de 1826 el viaje. No era nueva la práctica de sustraer bergantín Beagle zarpó del puerto de Plymouth personas de su entorno para llevarlas a Europa rumbo a Río de Janeiro, acompañado de un con distintos propósitos. De hecho, en lo que espacioso velero liviano, el Adventure. Así se refiere a América, Colón fue el pionero de la comenzó la primera etapa de la expedición que se práctica. Pero la experiencia sufrida por quienes conoce por el nombre de la nave que la encabezó1. los marinos llamaron Jemmy Button, Fuegia Philip Parker King (1791-1856), a bordo del Basket, York Minster y Boat Memory dio lugar, Adventure, tuvo el comando general, mientras como no ha sucedido en otros casos, a diferentes que Pringle Stokes (1793-1828) fue el capitán del elaboraciones literarias y visuales en el siglo XX Beagle. El retorno a Inglaterra se verificó el 14 de y en época contemporánea. Algunas de ellas octubre de 1830. En el segundo viaje, el Beagle retoman la versión de los hechos brindada por partió hacia Sudamérica el 27 de diciembre de Fitz Roy, otras la reformulan en términos críticos, 1831 e iba bajo el mando de Robert Fitz Roy, y y algunas le dan a los fueguinos la voz que no se regresó el 2 de octubre de 1836. oye en las fuentes oficiales3. El principal objetivo de la expedición, por Nos encontramos así con un caso con lo menos en términos oficiales, fue la exploración más de una arista que merece ser estudiada en hidrográfica de la Patagonia sur y Tierra del profundidad. Este artículo aborda una de ellas: la Fuego. Pero a pesar de las contribuciones producción artística de Conrad Martens (1801- sustantivas al conocimiento geográfico de la 1878) en el marco de la segunda etapa del viaje región que se derivaron de ella, el viaje del Beagle del Beagle (1831-1836), de la cual participó entre ha tenido una particular fortuna histórica. Hay 1833 y 1834 durante uno de los relevamientos que pensar, en primer lugar, en la coyuntura en en Patagonia y Tierra del Fuego. Se parte de la la que se desarrolla, cuando a inicios del siglo premisa de que en los viajes y expediciones de XIX, fracasados los intentos de sometimiento la modernidad, especialmente de los siglos XVIII de Buenos Aires por la vía militar, la corona y XIX, las imágenes fueron factores decisivos británica desplegó otras modalidades de avance de la construcción, transmisión y difusión de sobre territorios al sur del Río de la Plata. La conocimientos científicos y versiones artísticas Patagonia y las islas atlánticas se presentaban con sobre espacios no europeos y sus habitantes. indudables ventajas para el dominio estratégico y El examen de las acuarelas y dibujos de para la indagación científica, y en esos terrenos Martens y de otras fuentes, visuales y textuales, la expedición significó un avance importante para se utiliza para poner a prueba la hipótesis de que Gran Bretaña. En segundo lugar, sin duda le dio la formación como paisajista del pintor entró singular fama la participación en la segunda etapa en tensión con la observación de espacios con de un Darwin joven y en los inicios de su carrera características alejadas de los modelos artísticos científica, ya que el propio naturalista la consideró vigentes en Europa a principios del siglo XIX4. la escuela en la que se completó su aprendizaje, se La perspectiva se orienta a explorar las afianzó su vocación y se definieron sus intereses2. nociones de espacio y espacialidad en la percepción No es ajena a la trascendencia de la y representación de regiones extra-europeas por expedición el secuestro, durante el primer viaje, parte de viajeros y expedicionarios, manteniendo 1 La expresión “viaje del Beagle” suele usarse para referir solo Muchas historias para una historia, y algunas imágenes a la segunda etapa, ya que con ese nombre se popularizó el también”. Capítulo VII del libro: Penhos, 2018. Paisaje con diario de Darwin, pero aquí se aplica a las dos etapas de lo figuras. La invención de Tierra del Fuego a bordo del que puede considerarse una única empresa. Beagle (1826-1836). Ampersand, Buenos Aires. 2 Browne, 2007. La historia de El Origen de las Especies 4 Lo que sigue retoma en forma resumida las principales de Charles Darwin. Debate, Barcelona, pp. 29-42. líneas de análisis seguidas en Penhos, 2018, op. cit., en 3 Al respecto ver Penhos y Baliña, 2018. “Y la nave va… especial el capítulo V. CONRAD MARTENS, UN PAISAJISTA EN EL FIN DEL MUNDO 191 cierta prudencia respecto de la agencia indígena, durante la expedición es el texto oficial definitivo, ya que para abordarla a menudo solo contamos Narrative of the Surveying Voyages of his con indicios fragmentarios y difíciles de interpretar. Majesty’s ships Adventure and Beagle... (en La mayor parte de estos indicios, además, se adelante Narrative…), publicado en 1839 en encuentra en los informes de viajes, de modo que tres volúmenes y un apéndice8. Obra de autoría el habla del margen, como lo llama De Certeau, compleja donde encontramos diferentes voces y el del salvaje, el loco, el niño, hasta la mujer, nos diferentes manos, a las que se suma la intervención llega mediada por el amo, que la pone en orden5. clave del editor9, Narrative… permite indagar sobre el papel de las imágenes en el desarrollo LAS IMÁGENES Y EL VIAJE DEL BEAGLE de la expedición, y sobre la actuación de los artistas que tomaron parte de ella, en particular Las imágenes fueron recursos muy valorados de Martens. para documentar el conocimiento recogido Además de la cartografía, presente en los durante las expediciones de los siglos XVIII y XIX. dos mapas en pliegos sueltos que se encuentran Si bien la autoridad de la palabra escrita conservó en cada volumen, y en la lámina con la carta su primacía, diagramas, esquemas, someros del río Santa Cruz en el segundo10, la edición perfiles de costa y esbozos de levantamientos de Narrative… incluyó, convenientemente cartográficos parciales ganaron terreno por elaborados, algunos dibujos técnicos: la sección su capacidad de compendiar, complementar, imaginaria del canal Gabriel, para dar una idea ordenar y dar a conocer información científica y general de los fondeaderos fueguinos y del técnica. Pero los mapas y las imágenes técnicas efecto de las violentas tempestades que los azotan no estuvieron solos en esta tarea: también los en la conformación distinta de ambas costas, y el dibujos y pinturas figurativos, realizados a partir plano de una de las angosturas del estrecho de de los lineamientos consagrados en las academias Magallanes que muestra los singulares remolinos y talleres europeos, fueron parte de verdaderas de sus aguas. Ambos fueron insertos en el texto usinas iconográficas, como los viajes de Cook y del primer tomo11. El Apéndice al volumen II Malaspina6, por nombrar solo dos ejemplos del es más generoso en imágenes de esta clase: un siglo XVIII. El viaje del Beagle no escapó a esta plano con el relevamiento de parte de las costas tendencia. Los apuntes de John Lort Stokes7 fueguinas, tres láminas de mano de Fitz Roy que permiten asomarnos a la captación más o menos contienen cuatro dibujos cada una de tipos de inmediata de lo observado, mediante anotaciones, nubes, y un esquema de mareas del océano Índico.
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