tag:blogger.com,1999:blog-16579383287301003952024-03-14T13:47:25.800+01:00El Dibujo sin lápiz, al que le falta el papelBlog del profesor Antonio Rabazas, en torno al dibujo y otras cuestiones no menores. Facultad de Bellas Artes, Universidad Complutense de MadridAntonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.comBlogger58125tag:blogger.com,1999:blog-1657938328730100395.post-61582997647237054892023-03-20T21:04:00.000+01:002023-03-20T21:04:14.640+01:00Sobre las relaciones Texto e imagen: "Los Pequeños tratados" de Pascal Quignard<p><span style="background-color: white; border: 0px; box-sizing: border-box; color: #1a1a1a; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: courier;">Dejo aquí algunos fragmentos sobre la siempre difícil relación entre ilustración y texto de Pascal Quignard entresacados por <a href="https://elcuadernodigital.com/2018/03/20/pascal-quignard/" target="_blank">Vicente Duque</a>. Creo que aportan un punto de vista muy interesante para "re-pensar" críticamente nuestra forma de abordar las ilustraciones de textos. </span></span></p><p><strong style="background-color: white; border: 0px; box-sizing: border-box; color: #1a1a1a; font-family: "Noticia Text", serif; font-size: 19px; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></strong></p><p><span style="color: #666666;"><span style="background-color: white; border: 0px; box-sizing: border-box; font-family: "Noticia Text", serif; font-size: 19px; margin: 0px; padding: 0px; vertical-align: baseline;">Fragmentos de cuentos, indicios de narraciones, restos de partituras. Los <a href="https://www.google.es/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwjN_L3snNHUAhUKJFAKHSjQA7wQjRwIBw&url=http%3A%2F%2Fwww.udllibros.com%2Flibro-peque%25F1os_tratados_%25282_vol.%2529-9910020114&psig=AFQjCNGQFFoF3LYrW23YpWzh2_duE2pDKw&ust=1498213087463139" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;">Pequeños tratados</em> </a>(Sexto Piso, 2016) de <a href="https://es.wikipedia.org/wiki/Pascal_Quignard" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;">Pascal Quignard</a> </span> </span></p><p><strong style="border: 0px; box-sizing: border-box; font-family: "Noticia Text", serif; font-size: 1.1875rem; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #666666;"><br /></span></strong></p><p><strong style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;">Tratado VII</span></strong></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;">Sobre las relaciones que el texto y la imagen no mantienen</span></em></p><div class="separator" style="clear: both; text-align: center;"><em style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="text-align: left;"><span style="color: #666666; font-family: courier;"><br /></span></span></em></div><div class="separator" style="clear: both; text-align: center;"><em style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;"><span style="text-align: left;">Al editor (se llamaba Gervais Charpentier, era junio) que le suplicaba que hiciera una edición ilustrada de una de sus novelas, Gustave Flaubert le respondió bruscamente: «La ilustración es anti-literaria. Usted pretende que el primer imbécil de turno dibuje aquello que me he matado</span><span style="text-align: left;"> </span><em style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; text-align: left; vertical-align: baseline;">para no mostrar</em><span style="text-align: left;">».</span></span></em></div><p></p><p style="background-color: white; border: 0px; box-sizing: border-box; font-family: "Noticia Text", serif; font-size: 1.1875rem; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"><span style="color: #666666;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgkDmPOCohpduzZgv-1_1P_zfW5TjPfcidCaNiivsthL1ptQ-G4a03TFs7mtSb10n8nde6MIqEVIwnYJrtw6UMqlIeEresDksvoLG0nJffrKN5QZJVzH0Cz31Kcg0ArWAMnQaMq3An4BbvhPi022R_eIhK9GR_esQSky2jEkH1OCI1tq8sWvtnrSF2Ppg" style="margin-left: 1em; margin-right: 1em;"><span style="color: #666666;"><img alt="" data-original-height="757" data-original-width="843" height="574" src="https://blogger.googleusercontent.com/img/a/AVvXsEgkDmPOCohpduzZgv-1_1P_zfW5TjPfcidCaNiivsthL1ptQ-G4a03TFs7mtSb10n8nde6MIqEVIwnYJrtw6UMqlIeEresDksvoLG0nJffrKN5QZJVzH0Cz31Kcg0ArWAMnQaMq3An4BbvhPi022R_eIhK9GR_esQSky2jEkH1OCI1tq8sWvtnrSF2Ppg=w640-h574" width="640" /></span></a></div><p></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;">No hay vínculo entre el texto y la imagen, más que la imagen del texto mismo. La escritura —como todo modo de expresión— busca lo que no puede transponerse, y los signos que están ahí tienen como función suplir el objeto que han dejado de mostrar y que ha desaparecido. Lo propio de los signos escritos es no mostrar lo que designan; significan; reinan en lo que no puede mostrarse.</span></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"></p><div class="separator" style="clear: both; font-family: "Noticia Text", serif; font-size: 1.1875rem; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgAqG2KIwcpfqzuoL6eeVVyq348Dd_m1pdAqTDeJoOWXT5o8ZNwirDod-hi8ABewDGUK_6xwjkztfZXZSmJ2J_GdRo9-5gv6-ZKNZqlywM2Zd6gdW3bx6KPTYjh-8y-37Y2AyITJKVbxxbl7muoJhmNeEDF4QdjN230piGcymLyuZurhMo00fOyy7egww" style="margin-left: 1em; margin-right: 1em;"><span style="color: #666666;"><img alt="" data-original-height="600" data-original-width="600" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgAqG2KIwcpfqzuoL6eeVVyq348Dd_m1pdAqTDeJoOWXT5o8ZNwirDod-hi8ABewDGUK_6xwjkztfZXZSmJ2J_GdRo9-5gv6-ZKNZqlywM2Zd6gdW3bx6KPTYjh-8y-37Y2AyITJKVbxxbl7muoJhmNeEDF4QdjN230piGcymLyuZurhMo00fOyy7egww=w640-h640" width="640" /></span></a></div><span style="color: #666666;"><span style="font-family: Noticia Text, serif; font-size: x-small;"><div style="text-align: center;">Asikiart 5-100R</div></span><br /></span><p></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;">Toda imagen debe ser proscrita en los libros que se abren y en la lectura de los cuales uno se sumerge —salvo la de lo escrito mismo— por la sencilla razón de que sustituiría a la letra que se ha esforzado en suplir su defecto. Es 1. contradictorio, 2. vano pedirle al signo que se transporte al objeto al que se refiere, porque la significación es ese transporte mismo; consecuentemente, es pedirle al signo que se repudie como signo; es obligar al signo a su muerte. La imagen corta la hierba bajo el pie que es el lenguaje. Mostrar lo escrito como espectáculo: si aparece, se aniquila; empieza a ser visible; deja de ser legible; es un pez que revienta en el aire y la luz sin un grito. Retomando el verbo que usaba Gustave Flaubert, la ilustración «mata» las palabras, en tanto pretende recuperar lo que estas habían abstraído de la inmediatez continua para reintroducirlo en el universo físico</span></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;">Decía que se había «matado» en lo invisible.</span></p><p style="background-color: white; border: 0px; box-sizing: border-box; font-family: "Noticia Text", serif; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"></p><div class="separator" style="clear: both; font-size: 1.1875rem; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjnW-K9E5G-oGM1VrTgGJULo5OanMMco4KNGEwxK6GxODPb-B3gasJIiQ-Ldy3pTnCWyy98ibfdofhgk0pL5a0048KPgyF87Gsh8Rum0shF6pOLLbz-MK7Pq-3qcVui_Ktqgzc1MGebv9qjLntpgvNZW3VCSopMTKcRFySV4xprJ9ES-UE4zXdzykJC9w" style="margin-left: 1em; margin-right: 1em;"><span style="color: #666666;"><img alt="" data-original-height="540" data-original-width="360" height="541" src="https://blogger.googleusercontent.com/img/a/AVvXsEjnW-K9E5G-oGM1VrTgGJULo5OanMMco4KNGEwxK6GxODPb-B3gasJIiQ-Ldy3pTnCWyy98ibfdofhgk0pL5a0048KPgyF87Gsh8Rum0shF6pOLLbz-MK7Pq-3qcVui_Ktqgzc1MGebv9qjLntpgvNZW3VCSopMTKcRFySV4xprJ9ES-UE4zXdzykJC9w=w360-h541" width="360" /></span></a></div><div class="separator" style="clear: both; font-size: 1.1875rem; text-align: center;"><span style="font-size: small;"><span style="color: #666666;">Ana Hepler</span></span></div><p></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;">Esta imposibilidad no debe ser suprimida sino afirmada con toda la fuerza posible. La imagen es propiamente «lo prohibido» del decir. Por ello, si quiere conservarse la vieja y fundacional energía de esta imposibilidad, parece que no se puede ni leer en voz alta ni traducir en imágenes o en películas o en dibujos o bajo una forma teatral ningún libro que se haya escrito en el mundo. Se dice que tan solo habría una solución visual posible: consistiría en mostrar el libro mismo en la pantalla. Incluso esta solución es falaz. Debe ser rechazada. Porque el libro de ningún modo puede ser distinto de su lectura. Y las condiciones que supone la lectura de un libro no se corresponden en nada a las que requiere el espectáculo de una película. Retomando la frase que Gorgias pronunció en Atenas: lo que el ojo ve, la boca no puede pronunciarlo; lo que la boca pronuncia, la mano no puede tocarlo; lo que la mano coge y palpa, la nariz no puede sentirlo, etc. En otras palabras, las significaciones que las letras depositan por escrito son incomunicables con las representaciones que las imágenes disponen frente a nuestros ojos.</span></p><p style="background-color: white; border: 0px; box-sizing: border-box; font-family: "Noticia Text", serif; font-size: 1.1875rem; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgpmXXKrXZuYG6Rd34PuSNhwlj2q6rDds38yHPXWxEEcWuzdihdEnOOn4_KWAnrAlDXNEGk3SSQqHDPbJ0xvVpcmtxPLnL5evZ-Xle_zma2sOHZ6XOrtR5pbAON-tGRAEArMAp5tPU-bGpd1GS574k5IuIyu-Yo8dnGzeI8YIFe5dXmxU50areabQUCXQ" style="margin-left: 1em; margin-right: 1em;"><span style="color: #666666;"><img alt="" data-original-height="1000" data-original-width="1000" height="473" src="https://blogger.googleusercontent.com/img/a/AVvXsEgpmXXKrXZuYG6Rd34PuSNhwlj2q6rDds38yHPXWxEEcWuzdihdEnOOn4_KWAnrAlDXNEGk3SSQqHDPbJ0xvVpcmtxPLnL5evZ-Xle_zma2sOHZ6XOrtR5pbAON-tGRAEArMAp5tPU-bGpd1GS574k5IuIyu-Yo8dnGzeI8YIFe5dXmxU50areabQUCXQ=w473-h473" width="473" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><span style="color: #666666; font-size: x-small;">http://www.asikicollection.com/en</span></div><span style="color: #666666;"><br /></span></div><div style="text-align: left;"><span style="color: #666666;"><span style="font-family: courier;">Literatura e imagen no pueden mezclarse. Son numerosos los pintores y los escritores que han intentado fundir estas dos expresiones. No son sino errores. Otras tantas ocasiones para una risa loca. Pretensión de locos. Estas dos expresiones no pueden yuxtaponerse. Nunca se aprehenden juntas, cualquiera que sea el sueño que alimente quien está atrapado por este género de libros. Cuando lo uno es legible, lo otro no es visto. Cuando lo uno es visible, lo otro no es leído. Por más que uno se empeñe en alguna contigüidad, estos dos <em style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; vertical-align: baseline;">media</em> continúan siendo paralelos, y debe decirse que, para toda la eternidad, estos mundos son impenetrables entre sí. Incluso en el seno de Dios, la imagen y la letra permanecen separadas e insuperponibles. La iconoclastia bizantina ha presentado al respecto argumentos irreplicables. El sistema spinozista ha brindado sobre ello una teoría perentoria. Un modo de expresión no se transpone en otro más que a condición de perderse</span><span style="font-family: courier; font-size: medium;">.</span></span></div><p></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;">El lector y el espectador nunca serán el mismo hombre en el mismo momento, inclinado hacia adelante en la misma luz, descubriendo la misma página.</span></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"><span style="color: #666666; font-family: courier;">El lector nunca será un espectador. El espectador nunca será un lector.</span></p><p style="background-color: white; border: 0px; box-sizing: border-box; line-height: 1.6; margin: 0px 0px 30px; padding: 0px; vertical-align: baseline;"></p><div class="separator" style="clear: both; font-family: "Noticia Text", serif; font-size: 1.1875rem; text-align: center;"><span style="color: #666666;"><br /></span></div><div class="separator" style="clear: both; font-family: "Noticia Text", serif; font-size: 1.1875rem; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiHGrsEVtznK0O8XlqpIRO2uKA8rX80p_xPqY0hl_O1eBNRZ10Nb5usB0GNjxnXMnaUlO0omhSLdT2XB65A0G5YE8rT1OS7PUsQC8Gv7i7zkUIEuzcMGeyZ4_KnSl-uOZHWpMy8YaQLgpu7LVc8g_wAQLOGbNlaaoOtxtSmKAw000K9qTiXPxOXIC6rMw" style="margin-left: 1em; margin-right: 1em;"><span style="color: #666666;"><img alt="" data-original-height="712" data-original-width="500" src="https://blogger.googleusercontent.com/img/a/AVvXsEiHGrsEVtznK0O8XlqpIRO2uKA8rX80p_xPqY0hl_O1eBNRZ10Nb5usB0GNjxnXMnaUlO0omhSLdT2XB65A0G5YE8rT1OS7PUsQC8Gv7i7zkUIEuzcMGeyZ4_KnSl-uOZHWpMy8YaQLgpu7LVc8g_wAQLOGbNlaaoOtxtSmKAw000K9qTiXPxOXIC6rMw=s16000" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #666666; font-family: Noticia Text, serif; font-size: x-small;">Estrategias oblicuas- indicaciones de Brian Eno para superar bloqueos creativos</span></div><p></p>Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-31452784658848805102020-09-14T13:05:00.001+02:002020-09-14T13:05:39.068+02:00Pat Andrea ilustró un cuento de Cortázar<p><a href=" https://cvc.cervantes.es/literatura/libros_cortazar/tango_vuelta.htm" target="_blank">Instituto cervantes reseña del libro de Pat Andrea "La Puñalada" y El Tango de la Vuelta de Cortazar</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-K6mGh4mpv1o/X19NBPTfjQI/AAAAAAAAHUo/8Mi-LQemNBEKe_oyijdAD6xYwZ36CDAogCLcBGAsYHQ/s846/tango_cortazar01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="846" height="490" src="https://1.bp.blogspot.com/-K6mGh4mpv1o/X19NBPTfjQI/AAAAAAAAHUo/8Mi-LQemNBEKe_oyijdAD6xYwZ36CDAogCLcBGAsYHQ/w640-h490/tango_cortazar01.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="320" data-original-width="700" height="292" src="https://1.bp.blogspot.com/-N73GVD5s2EM/X19NCngdixI/AAAAAAAAHVY/UVd-6sRd7RITGafRjLxkPorqs8_tOl1ggCLcBGAsYHQ/w640-h292/tango_cortazar14.jpg" style="text-align: left;" width="640" /><a href="https://1.bp.blogspot.com/-s0uEbFzi5wQ/X19NBa-B7yI/AAAAAAAAHUw/P8VydKqDCyAW5pKctTzKYswKmLNssrtHACLcBGAsYHQ/s873/tango_cortazar02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="873" height="476" src="https://1.bp.blogspot.com/-s0uEbFzi5wQ/X19NBa-B7yI/AAAAAAAAHUw/P8VydKqDCyAW5pKctTzKYswKmLNssrtHACLcBGAsYHQ/w640-h476/tango_cortazar02.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-KAUDHKcjoXY/X19NBEyD92I/AAAAAAAAHUs/hBLEUa-sZmgRC8QqLIuhiHrr-xRLLdZPQCLcBGAsYHQ/s874/tango_cortazar04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="874" height="476" src="https://1.bp.blogspot.com/-KAUDHKcjoXY/X19NBEyD92I/AAAAAAAAHUs/hBLEUa-sZmgRC8QqLIuhiHrr-xRLLdZPQCLcBGAsYHQ/w640-h476/tango_cortazar04.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://1.bp.blogspot.com/-_hDRGlqllIw/X19NCUUhutI/AAAAAAAAHVQ/nxL5t56qLIsCRmyshLFmg9eB1o2L7qfmACLcBGAsYHQ/s700/tango_cortazar13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="700" height="478" src="https://1.bp.blogspot.com/-_hDRGlqllIw/X19NCUUhutI/AAAAAAAAHVQ/nxL5t56qLIsCRmyshLFmg9eB1o2L7qfmACLcBGAsYHQ/w640-h478/tango_cortazar13.jpg" width="640" /></a></div><br /><br /><p><br /></p><p><br /></p><div id="gtx-trans" style="left: -10px; position: absolute; top: -20px;"><div class="gtx-trans-icon"></div></div>Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-1082706099748414372020-01-20T13:22:00.001+01:002020-01-20T13:39:06.056+01:00Sobre dibujo y otras cuestiones<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"> Marta Rivera de las Heras Cuaderno Producción 2019</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Dibuja.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Dibuja.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Sí, sal a dibujar, dibújalo todo.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Cuando se dibuja se tranquiliza la mente</span></div>
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<span style="font-family: Courier New, Courier, monospace;">te vuelves más observador,</span></div>
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<span style="font-family: Courier New, Courier, monospace;">más tranquilo,</span></div>
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<span style="font-family: Courier New, Courier, monospace;">agudizas la inteligencia a través del ojo.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Prueba materiales, conócelos, experimenta hasta la extenuación.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">La clase te da a conocer herramientas, su uso, lo que se puede o no hacer, pero siempre estará sujeto a revisión y crítica </span></div>
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<span style="font-family: Courier New, Courier, monospace;">¿y por qué esto no? </span></div>
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<span style="font-family: Courier New, Courier, monospace;">voy y lo hago</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Ah, ya sé lo que se puede o no hacer desde mi propia experiencia, no se me olvidará jamás.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">La Universidad, la Facultad, te proveen de pensamiento crítico, no de un trabajo.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">No todos seremos artistas profesionales, porque no hay mercado suficiente para todos.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Pero podemos pensar en qué se nos da realmente bien, en qué somos buenos y potenciar ese perfil.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Completa tus conocimientos con muchos cursos, conferencias, charlas, jornadas, nunca ha sido tan fácil la autoformación con la cantidad de cursos online gratuitos.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Es necesario que dibujes con programas de dibujo vectorial, que hagas una historia animada, nadie nace sabiendo, pero es necesario aprenderlo.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">No tomes al pie de la letra los comentarios del profesor, pero reconoce lo que es sincero. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">Piensa que la distancia sobre el propio trabajo da una perspectiva diferente, casi siempre más objetiva, si se puede hablar de objetividad en arte. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">En todo caso reconoce quién te quiere ayudar y quién no.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">En esta asignatura y en la carrera, es importante compartir y debatir tus ideas y proyectos con otros compañeros, sus opiniones muchas veces te sacarán de errores de enfoque o te proporcionarán nuevas ideas o planteamientos.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">No te aísles.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Entre pensar y dibujar: siempre dibuja pensando o piensa dibujando, las dos cosas a la vez, no las separes.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Cuando te das cuenta de la cantidad de ideas y materiales que estás barajando para un proyecto o una entrega, quita, siempre quita, hasta que ya no puedas quitar más, entonces y solo entonces empezarás a tener algo.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Cuando dibujamos trabajamos sobre una superficie, trasladamos a dos dimensiones un mundo de tres dimensiones, es importante que hagamos la operación inversa como ejercicio intelectual. Realizar maquetas, modelos, pequeñas estructuras tridimensionales de nuestros dibujos, nos aportarán nuevas perspectivas sobre la escala, punto de vista, especialidad, textura, etc.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Las discusiones teóricas, los autores imprescindibles, ya sabéis Heidegger, Benjamin, Ranciere, Foucault, etc. que estudiamos en la carrera casi siempre vertieron sus argumentaciones en otro contexto y en otro tiempo, es posible que hoy las citas a ciertos autores recurrentes o de moda, no tengan ya ningún sentido y las estemos repitiendo año tras año. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">Ante la duda, mejor pensar uno mismo que citar, dar cabida al pensamiento propio frente a la socorrida cita ajena.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">La sociedad se ha transformado en los últimos 30 años más que en todo el siglo anterior, todo lo que hoy aprendemos solo son herramientas que servirán para ayudarnos a seguir aprendiendo ante los nuevos retos que nos esperan. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">No hay saber cerrado, siempre estaremos aprendiendo, creando, innovando, proponiendo y haciendo, siempre haciendo.</span></div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-6317965664625758642019-11-04T18:48:00.001+01:002019-11-04T18:48:31.583+01:00Ilustración, Carmen García Huerta <div style="background: #eee; background: rgba(255,255,255,0.9); border-bottom: 1px solid #aaa; display: inline-block; padding-top: 64%; position: relative; width: 100%;">
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<br />Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-12752616485231088992019-05-13T20:23:00.001+02:002019-05-13T21:29:49.289+02:00Joan Margarit nos felicita<table border="0" cellpadding="0" cellspacing="0" class="message" style="color: black; font-family: arial, sans-serif; font-size: 13px; width: 100%px;"><tbody>
<tr><td><span style="font-family: "courier new" , "courier" , monospace;">Estimados estudiantes de Producción y Proyectos, Joan Margarit y su esposa Mariona os felicitan por el trabajo realizado con su poemario Joana. Copio aquí su correo. <br />Por nuestra parte agradecerles desde aquí, la oportunidad que nos han brindado al permitirnos trabajar con tan bellos y delicados poemas.<br /><br /><br /><br /><br /> </span><br /><br /><br /><br /><br /><br /><b>Joan Margarit Consarnau </b><jomaco coac.net=""></jomaco></td><td align="right"><br /><br /><br />
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13 de mayo de 2019, 19:43</div>
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<tr><td colspan="2" style="padding-bottom: 4px;"><span class="recipient">Para: ANTONIO RABAZAS ROMERO <arabazas art.ucm.es=""></arabazas></span></td></tr>
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Querido Antonio:<br />
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Acabo de llegar de Granada y lo primero que me encuentro es vuestra revista: he visto enseguida tu precioso obsequio –muchas, muchas gracias– y, con mi mujer nos hemos ido emocionando a medida que ha ido avanzando, página a página, el libro. No habíamos imaginado que sería algo de tanta seriedad y profundidad: Joana ha vuelto desde un lugar que no podíamos imaginar. Por favor, Antonio, recibe nuestra extraña alegría, primero por ti, el profesor a quien se debe la idea y dirección del trabajo, y después por todos los alumnos, uno a uno: por favor, no dejes que ni una, ni uno solo, quede al margen de nuestro conmovido agradecimiento. Un gran abrazo para todos de vuestros</div>
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<span style="white-space: pre-wrap;"> </span>Joan y Mariona</div>
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PD- Todos mis “papeles” se guardan en la Biblioteca Nacional, pero en este caso no quisiera quedarme sin <i>mi</i> ejemplar en casa. ¿Podrías hacer que me mandaran otro ejemplar de la revista?</div>
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El 9 maig 2019, a les 10:45, ANTONIO RABAZAS ROMERO <<a href="https://mail.google.com/mail/?view=cm&fs=1&tf=1&to=arabazas@art.ucm.es" style="color: #1155cc; text-decoration-line: none;" target="_blank">arabazas@art.ucm.es</a>> va escriure:</div>
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Estimado Joan, en primer lugar darte la enhorabuena por el premio Reina Sofía de Poesía Iberoamericana recién conseguido: </div>
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¡Felicidades! </div>
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¡Nos alegramos todos tus lectores! </div>
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En segundo lugar comentarte que ya hemos editado la revista ilustrada sobre el libro de Joana, si me dices una dirección postal te mando un ejemplar con todo mi respeto y agradecimiento por dejarnos trabajar con tus poemas.</div>
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Solo decirte que a los alumnos la experiencia les ha encantado, que han comprado tu libro "Todos los Poemas", que has estado presente en muchas conversaciones en estos dos meses y que me han propuesto seguir con el proyecto de seguir editando poemarios ilustrados.</div>
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Recibe un saludo cordial de todos los que han participado en la revista </div>
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y por mi parte darte de nuevo las gracias por tu generosidad.</div>
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Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-37944644154551383172019-03-14T12:03:00.004+01:002023-01-18T17:36:14.655+01:00Algunas ilustraciones interesantes para Joana<div class="separator" style="clear: both; text-align: center;">
Cuelgo aquí algunas ilustraciones de tres alumnas de proyectos para que sirvan de ejemplo de la calidad a la que podemos llegar.</div>
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<a href="https://3.bp.blogspot.com/-mhu1YSBo024/XIozTX7B7uI/AAAAAAAAGtY/sbkW2xyySds44eCREAp70pOJcn0q4bH4ACLcBGAs/s1600/joana-Manuela_Pa%25CC%2581gina_04%2Bdoble.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1126" data-original-width="1600" height="450" src="https://3.bp.blogspot.com/-mhu1YSBo024/XIozTX7B7uI/AAAAAAAAGtY/sbkW2xyySds44eCREAp70pOJcn0q4bH4ACLcBGAs/s640/joana-Manuela_Pa%25CC%2581gina_04%2Bdoble.jpg" width="640" /></a></div>
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A continuación algunas muestras de alumnos de Producción:<br />
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<br />Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-90248066158460722582019-03-10T20:59:00.001+01:002020-03-28T20:49:29.105+01:00Las ciudades invisibles, Italo Calvino<!--[if gte mso 9]><xml>
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<a href="https://1.bp.blogspot.com/-3jVuFRvjTkc/XIVrC5hcIUI/AAAAAAAAGso/EYmyKgKs-zoJT7mSKqj0zijzqmHi_fEQACLcBGAs/s1600/Diomira%2BRicardo%2BBonacho%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="600" height="451" src="https://1.bp.blogspot.com/-3jVuFRvjTkc/XIVrC5hcIUI/AAAAAAAAGso/EYmyKgKs-zoJT7mSKqj0zijzqmHi_fEQACLcBGAs/s640/Diomira%2BRicardo%2BBonacho%2B2.jpg" width="640" /></a></div>
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<span style="font-size: x-small;"><i><span lang="ES-TRAD"><span style="font-family: "arial" , sans-serif;">Diomira Ricardo Bonacho, </span></span><span style="font-family: "arial" , sans-serif;">Las Ciudades Invisibles</span><span style="font-family: "arial" , sans-serif;"> de Italo Calvino</span></i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Ejercicio
a realizar:<o:p></o:p></span></b></div>
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<span style="color: #073763; font-family: Courier New, Courier, monospace;"><span lang="ES-TRAD" style="font-size: 11.0pt;">A partir del estudio de diferentes técnicas gráficas, trataremos
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Calvino. Se trata de </span><span lang="ES-TRAD" style="font-size: 11.0pt;">crear un lugar donde todo sea posible y para
esto nos serviremos del concepto de Gráficas Ampliadas, donde las diferentes
técnicas gráficas, el dibujo, el collage, fotografías de modelos y maquetas, imágenes
encontradas, etc. constituyan un conjunto gráfico coherente con los
requerimientos del texto de Italo Calvino.</span><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-size: 11.0pt;"><o:p></o:p></span></b></span></div>
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<span lang="ES-TRAD" style="color: #073763; font-family: Courier New, Courier, monospace; font-size: 11.0pt;">Realización de un libro encuadernado con el texto de la obra <i style="mso-bidi-font-style: normal;">Las Ciudades Invisibles</i>,
ilustrado con una portada y 24 dibujos alusivos a las ciudades descritas por Calvino. </span></div>
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<span style="color: #073763; font-family: Courier New, Courier, monospace;"><span lang="ES-TRAD" style="font-size: 11.0pt;">Los dibujos </span><span style="font-size: 14.6667px;">constituirán propuestas de “puesta en escena” de esta obra </span><span style="font-size: 11pt;">(personajes, espacios, lugares, escenas narradas, habitantes, detalles... ) </span></span></div>
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<span lang="ES-TRAD" style="color: #073763; font-family: Courier New, Courier, monospace; font-size: 11.0pt;">Se pretende
obtener una maqueta original de una -novela gráfica- editada y encuadernada a
su tamaño final con el texto y las imágenes. <o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: #073763; font-family: Courier New, Courier, monospace; font-size: 11.0pt;">El tamaño y el formato (vertical o apaisado) serán los que
considere el alumno idóneo para ser comercializado como producto editorial
masivo o como libro de artista en edición original numerada.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="color: #073763; font-family: Courier New, Courier, monospace; font-size: 11.0pt;">Técnica: la elegida por el estudiante fruto del estudio de los procesos y
procedimientos empleados por los artistas subidos
a los tableros de Pinterest del profesor Antonio Rabazas.<o:p></o:p></span></div>
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<span lang="ES-TRAD" style="font-size: 11.0pt;"><span style="color: #073763; font-family: Courier New, Courier, monospace;">Entrega del libro y un archivo PDF del mismo escaneado.</span><span style="font-family: arial, sans-serif;"><o:p></o:p></span></span></div>
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<a href="https://4.bp.blogspot.com/-nxN7wxIM0sU/XIVsJTpvAPI/AAAAAAAAGs0/MzjYqxP5w8IrTnO_-eyoI2hQCEeDk0nrgCLcBGAs/s1600/Eda%2BAkaltun%2BInvisibleCities_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="778" data-original-width="550" height="640" src="https://4.bp.blogspot.com/-nxN7wxIM0sU/XIVsJTpvAPI/AAAAAAAAGs0/MzjYqxP5w8IrTnO_-eyoI2hQCEeDk0nrgCLcBGAs/s640/Eda%2BAkaltun%2BInvisibleCities_.jpg" width="452" /></a></div>
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<i style="font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Eda Akaltun InvisibleCities</span></i></div>
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<i><span lang="ES-TRAD" style="font-family: "times new roman" , serif; mso-ansi-language: ES-TRAD;"><a href="https://lithub.com/art-inspired-by-italo-calvinos-invisible-cities/">https://lithub.com/art-inspired-by-italo-calvinos-invisible-cities/</a></span></i></div>
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<!--EndFragment--><br />Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-55023999466526839152019-01-30T17:25:00.002+01:002019-02-19T18:43:51.466+01:00El poema como el dibujo, tiene que ser preciso, exacto.<!--[if gte mso 9]><xml>
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PRODUCCION ARTISTICA. DIBUJO (801007). Grupo 2. <o:p></o:p></div>
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Profesor Antonio Rabazas<o:p></o:p></div>
<div class="MsoNormal">
2CT.<span style="mso-spacerun: yes;"> </span>31 alumnos<o:p></o:p><br />
<br /></div>
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Creación de una revista ilustrada mensual con la tipología de la revista M21magazine, en la que cada alumno dispone de 4 páginas para resolver la gráfica que acompañará al poemario de Joan Margarit:<br />
<br />
<span style="color: #999999;">Correo a Joan Margarit:</span><br />
<br />
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<i><span style="color: #999999;">Estimado Sr. Margarit, encantado de saludarle.<o:p></o:p></span></i></div>
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<i><span style="color: #999999;">Soy profesor de dibujo y proyectos en la Facultad de Bellas
Artes de la Universidad Complutense de Madrid y un admirador de su obra
poética.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i><span style="color: #999999;">Me pongo en contacto con Vd. porque se me ha ocurrido un
proyecto para mis alumnos para el que necesitaría su permiso.<o:p></o:p></span></i></div>
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<br /></div>
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<i><span style="color: #999999;">El proyecto sería crear una revista ilustrada basándonos en
algunos de sus libros. <o:p></o:p></span></i></div>
<div class="MsoNormal">
<i><span style="color: #999999;">El objetivo es aunar el conocimiento de la poesía
contemporánea, del que desgraciadamente muchos alumnos son ignorantes, con la creación de sus propias imágenes y el aprendizaje de lo que
es un estilo personal.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
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<i><span style="color: #999999;">La metodología sería asignar a cada alumno un poema en el
que trabajar y un espacio de 4 din A4. En este exiguo espacio ha de dibujar un
imaginario propio desde la realidad-ficción que propone el poema. <o:p></o:p></span></i></div>
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<i><span style="color: #999999;">El objetivo último es enseñarles que el rigor y la exactitud
del poema, es necesaria para transmitir la verdad que encierra sobre la propia
experiencia vivida, y que es precisamente esta construcción, lo que lo hace universal.<o:p></o:p></span></i></div>
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<i><span style="color: #999999;">Un buen dibujo pienso, que comparte muchas de las características
de un buen poema. Quizás, trabajar con estas bellas estructuras -sus poemas- nos
ayude a entender mejor las nuestras.<o:p></o:p></span></i></div>
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<br /></div>
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<i><span style="color: #999999;">Esperando sus noticias, <o:p></o:p></span></i></div>
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<i><span style="color: #999999;">reciba un cordial saludo <o:p></o:p></span></i></div>
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<span style="color: #999999;"><i>Antonio Rabazas</i><o:p></o:p></span></div>
<span style="color: #999999;"><br /></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #999999;">Respuesta: </span></span><br />
<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #999999;">Amigo Antonio, naturalmente puede usted disponer de mis poemas. </span></span><br />
<span style="color: #999999;"><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Cordialmente</span><br style="background-color: white; font-family: arial, helvetica, sans-serif;" /><br style="background-color: white; font-family: arial, helvetica, sans-serif;" /><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> Joan Margarit</span></span><br />
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<span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-q27fZh-qsNQ/XFHRR6KhqrI/AAAAAAAAGno/PvAmu6gMBB8_mHDgtjUhhH_Gbvts3iljACLcBGAs/s1600/Cubierta%2BTodos%2Blos%2Bpoemas%2BJoan%2BMargarit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="326" height="320" src="https://1.bp.blogspot.com/-q27fZh-qsNQ/XFHRR6KhqrI/AAAAAAAAGno/PvAmu6gMBB8_mHDgtjUhhH_Gbvts3iljACLcBGAs/s320/Cubierta%2BTodos%2Blos%2Bpoemas%2BJoan%2BMargarit.jpg" width="209" /></a></div>
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Aconsejo una visita a la página web de <a href="http://www.joanmargarit.com/es/" title="Joan Margarit">Joan Margarit</a>, para
leer sus comentarios en prosa a algunos de sus libros así, como referencias críticas
a su trabajo, entrevistas etc.<a href="http://www.joanmargarit.com/es/" title="Joan Margarit"><o:p></o:p></a></div>
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<span class="MsoHyperlink">Joan Margarit<o:p></o:p></span></div>
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Todos los poemas (1975-2015)<o:p></o:p></div>
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921 pp., Austral ediciones, 2018</div>
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<span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.m21radio.es/m21-magazine"><span style="font-size: large;">M21magazine</span></a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgdiKhFD9_5C3IVCsUxqcPNPHtqJgFyzQhiEQD79NCfsAF1rVZWKAoouGFTJhjypmLz8ICV_a_GMKYabs3nitN6l5v1sqDSv-FIj64mpSJejwAYgL-dasf0qQlQXgpukx7Bc2LHS9kjy4/s1600/m21magazine22_web2+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1121" data-original-width="1600" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgdiKhFD9_5C3IVCsUxqcPNPHtqJgFyzQhiEQD79NCfsAF1rVZWKAoouGFTJhjypmLz8ICV_a_GMKYabs3nitN6l5v1sqDSv-FIj64mpSJejwAYgL-dasf0qQlQXgpukx7Bc2LHS9kjy4/s640/m21magazine22_web2+8.jpg" width="640" /></a></div>
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<span style="font-size: x-small;">Historias de la EMT | La Copqia M21magazine nº 21. p. 14</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOat9ucvSh4kF1FimAStitrInlD0bJbSIw11gFSSA22V5LhJ_zum5vdF8T-PyaFXyRADoZldj7_aX1kekPWdv7WiV7SmHQH7CSJHYQiciGyzQKMfXgyHhsAlUoV6AqGo-t4C3c415bA0o/s1600/m21magazine20_web+9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1121" data-original-width="1600" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOat9ucvSh4kF1FimAStitrInlD0bJbSIw11gFSSA22V5LhJ_zum5vdF8T-PyaFXyRADoZldj7_aX1kekPWdv7WiV7SmHQH7CSJHYQiciGyzQKMfXgyHhsAlUoV6AqGo-t4C3c415bA0o/s640/m21magazine20_web+9.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Enrique Flores | Historias de la EMT M21magazine nº 20 pp.16-17</span></div>
<br />
Cronograma del cuatrimestre:<br />
<b>Unidad de Estudio 1</b> Febrero 2019</div>
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<o:p></o:p></div>
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<b>Unidad de Estudio 2</b> Marzo 2019</div>
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<o:p></o:p></div>
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<b>Unidad de Estudio 3</b> Abril 2019</div>
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<o:p></o:p></div>
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<br /></div>
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<br /></div>
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<b>Unidad de Estudio 1 </b><o:p></o:p></div>
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Febrero 2019<o:p></o:p></div>
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<i><b>Libro de JOANA</b></i><o:p></o:p></div>
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Pp. 413-467<br />
La elección de los poemas será por orden alfabético<o:p></o:p></div>
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<br />
<div class="MsoNormal">
Alumno/a<o:p></o:p></div>
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01 ALVARADO RODRIGUEZ, CARLOS: <i><span style="color: #999999;">Mientras tú duermes</span></i><o:p></o:p></div>
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02 ARIZNAVARRETA MARIN, ISABEL: <span style="color: #999999;"><i>No hay milagros</i></span><o:p></o:p></div>
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03 BENEGAS JAYME, MARTA: <span style="color: #999999;"><i>Agua</i></span><o:p></o:p></div>
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04 BERNAT LARGO, MAURO: <i><span style="color: #999999;">El alba en Cádiz</span></i><o:p></o:p></div>
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05 BRAVO FLORENCIO, CAROLINA: <i><span style="color: #999999;">Luces de navidad en Sant Just</span></i><o:p></o:p></div>
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06 CARAVACA SANZ, YAIZA: <i><span style="color: #999999;">Las cuatro de la mañana</span></i><o:p></o:p></div>
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07 CARDERO DEL RIO, MARTA: <i><span style="color: #999999;">Mañana de domingo con música de LLuís Claret</span></i><o:p></o:p></div>
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08 CRUZ CASADO, MARIA ELENA: <i><span style="color: #999999;">Metro Fontana</span></i><o:p></o:p></div>
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09 CUESTA GONZALEZ, BEATRIZ: <i><span style="color: #999999;">Padre e hija</span></i><o:p></o:p></div>
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10 DARRIBA GÓMEZ, RODRIGO: <i><span style="color: #999999;">Sant Just, 2 de marzo de 2001</span></i><o:p></o:p></div>
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11 FERNANDEZ JIMENEZ, LAURA: <i style="background-color: white;"><span style="color: #999999;">La felicidad</span></i><o:p></o:p></div>
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12 CRESPO, EDGAR (VISITANTE):: <i><span style="color: #999999;">Océano Atlántico, 1956 </span></i><o:p></o:p></div>
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13 GARCIA CABALLERO, JULIA: <i><span style="color: #999999;">Historia Natural</span></i><o:p></o:p></div>
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14 GARCIA MARTIN, LUCIA:<i><span style="color: #999999;"> Maqueta y portada</span></i><o:p></o:p></div>
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15 GONZALEZ PASCUAL, LAURA: <i><span style="color: #999999;">Madre e hija</span></i><o:p></o:p></div>
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16 GUILLO ORTS, URSULA: <i><span style="color: #999999;">Saqueo</span></i><o:p></o:p></div>
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17 HERNÁNDEZ LÓPEZ DE CASTRO, CARMEN: <i><span style="color: #999999;">Súplica</span></i><o:p></o:p></div>
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18 MARTIN INFANTE, ENRIQUE: <i><span style="color: #999999;">Mari</span></i><o:p></o:p></div>
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19 MORAIS MANRIQUE, ASIER: <i><span style="color: #999999;">Último paseo</span></i><o:p></o:p></div>
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20 NEGRON ESTEVEZ, LAURA:<i><span style="color: #999999;"> Un pobre instante</span></i><o:p></o:p></div>
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21 PUIG GARCIA DE LA VEGA, LUCIA: <i><span style="color: #999999;">El día después de la muerte</span></i><o:p></o:p></div>
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22 RIVERA RODRÍGUEZ, MARÍA ITZIAR: <i><span style="color: #999999;">Tu lobo</span></i><o:p></o:p></div>
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23 RODRIGUEZ FERNANDEZ, NEREA: <i><span style="color: #999999;">Final</span></i><o:p></o:p></div>
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24 SANZ DE BURGOS, JAVIER: <i><span style="color: #999999;">Noche de junio</span></i><o:p></o:p></div>
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25 SUZUKI, AKIRA: <i><span style="color: #999999;">Espacio y tiempo</span></i><o:p></o:p></div>
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26 TRIGUERO GARCIA, CARMEN: <i><span style="color: #999999;">Un cuento</span></i><o:p></o:p></div>
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27 VALADES AÑO, ANGEL: <i><span style="color: #999999;">Una fotografía colgada en la pared</span></i><o:p></o:p></div>
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28 VALLS SANCHEZ, EDUARDO NICOLAS: <i><span style="color: #999999;">Pasajera</span></i><o:p></o:p></div>
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29 WEBB VALDES, ANA: <i><span style="color: #999999;">Recuerdo militar</span></i></div>
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30 ZAMATAN ARANGOA, IRENE: <i><span style="color: #999999;">Canción de cuna</span></i><o:p></o:p><br />
31 DÍAZ MAGÁN, CRISTINA: <span style="color: #999999;"><i>El presente y Forès</i></span><br />
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32 DE LA CRUZ FERNÁNDEZ, MARTA: <span style="color: #999999;"><i>Riera Pahissa</i></span></div>
33 MORCILLO TEJERA, SARA: <i><span style="color: #999999;">Retrato a la manera de Hopper p. 525</span></i><br />
34 CRESPO, EDGAR: <i><span style="color: #999999;">Océano Atlántico, 1956. p. 434</span></i><o:p></o:p><br />
35 RIVERA DE LAS HERAS, MARTA: <span style="color: #999999;"><i>Playa de septiembre. p. 528</i></span></div>
36 BERSAO, PAOLO: <i><span style="color: #999999;">Refugios p. 527</span></i><br />
<br />
<div>
<div>
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/171553692" webkitallowfullscreen="" width="640"></iframe></div>
<div>
<a href="https://vimeo.com/171553692">Pienso, luego existo - Web oficial - RTVE.es</a> from <a href="https://vimeo.com/user53543749">Joan Margarit</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
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<br /></div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-27971735495208802272018-09-21T14:37:00.002+02:002023-01-18T17:47:49.821+01:00Cuadernos<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"> Helen Strom graphite Moleskine pencil sea shell study</span></div>
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<!--EndFragment--><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-size: x-small;">Joanna Concejo Cloudy Days</span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
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<br />
<div class="MsoNormal">
<span style="font-family: "courier new" , "courier" , monospace;">Uno de los objetivos de este curso es aprender a usar
nuestra propia mirada, frente a la convencional y estereotipada del uso común.
Otro, no menos importante, es encontrar un lenguaje propio, a través de la observación directa, de los objetos y
las situaciones que se dan en el transcurrir de la vida. Para ello, el cuaderno
es una herramienta muy poderosa, lo llevamos siempre encima y depositamos en él
todo tipo de materiales, dibujos, reflexiones, collages, productos de nuestra
experiencia en un momento dado y en una fecha concreta. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "courier new" , "courier" , monospace;">Este es un ejercicio, que requiere una voluntad clara por nuestra
parte de tomar esas notas. Necesitamos un paréntesis de tiempo, parar el reloj, concentrarnos profundamente, observar con atención y reflexionar sobre
lo vemos.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "courier new" , "courier" , monospace;">Como resultado, vamos obteniendo un diario de nuestro pensar
sobre lo observado, haciéndolo propio, transformándolo en algo ya nuestro.<o:p></o:p></span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-zs8W58zWPRI/W6UGyyJfmgI/AAAAAAAAGWM/WcV4nyNDzbc-2eNI-5epsm9wQsd4MBMkACEwYBhgL/s1600/Joanna%2BConcejo%2BCloudy%2BDays%2B2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="547" data-original-width="679" height="321" src="https://1.bp.blogspot.com/-zs8W58zWPRI/W6UGyyJfmgI/AAAAAAAAGWM/WcV4nyNDzbc-2eNI-5epsm9wQsd4MBMkACEwYBhgL/s400/Joanna%2BConcejo%2BCloudy%2BDays%2B2.png" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-De0LZEoIGNY/W6UGyq_IvLI/AAAAAAAAGWE/bsmHn0ili2kgoWdeTmWXa7Kn14E_M3p3QCEwYBhgL/s1600/Joanna%2BConcejo%2BCloudy%2BDays%2B3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="679" height="323" src="https://4.bp.blogspot.com/-De0LZEoIGNY/W6UGyq_IvLI/AAAAAAAAGWE/bsmHn0ili2kgoWdeTmWXa7Kn14E_M3p3QCEwYBhgL/s400/Joanna%2BConcejo%2BCloudy%2BDays%2B3.png" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Joanna Concejo Cloudy Days</span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><br /></span></div>
</div>
<div class="MsoNormal">
<span style="font-family: "courier new" , "courier" , monospace;">Muchos artistas han trabajado con cuadernos en los que
apuntaban sus ideas, las escenas que veían, los bocetos que se les ocurrían
para proyectos de obras mayores, etc. <o:p></o:p></span><br />
<span style="font-family: "courier new" , "courier" , monospace;">Modelos ejemplares para generaciones de artistas.</span></div>
<div class="MsoNormal">
<span style="font-family: "courier new" , "courier" , monospace;">Un breve repaso nos sitúa en los cuadernos del maestro
francés Villard de Honnecourt (1200-1250) en los que representaba detalles
constructivos de edificios, herramientas, ideas y lugares de su interés. </span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-rls7PbTM7w4/W8c3_d7FK6I/AAAAAAAAGck/Tmnf7YwlL4sR40x2GctTpv8if30c_iiKgCLcBGAs/s1600/Le%2Bcarnet%2Bde%2BVillard%2Bde%2BHonnecourt.%2BFolio%2B28%2B-%2BLutteurs%2B-%2BPlan%2Bd%2527e%25CC%2581glise%2Bcistercienne%2B-%2BCh%25C5%2593ur%2Bde%2Bl%2527e%25CC%2581glise%2Bde%2BCambrai.%2BFolio%2B29%2B-%2BPlans%2Bde%2Bchevets%2Bd%2527e%25CC%2581glise..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="981" height="325" src="https://4.bp.blogspot.com/-rls7PbTM7w4/W8c3_d7FK6I/AAAAAAAAGck/Tmnf7YwlL4sR40x2GctTpv8if30c_iiKgCLcBGAs/s400/Le%2Bcarnet%2Bde%2BVillard%2Bde%2BHonnecourt.%2BFolio%2B28%2B-%2BLutteurs%2B-%2BPlan%2Bd%2527e%25CC%2581glise%2Bcistercienne%2B-%2BCh%25C5%2593ur%2Bde%2Bl%2527e%25CC%2581glise%2Bde%2BCambrai.%2BFolio%2B29%2B-%2BPlans%2Bde%2Bchevets%2Bd%2527e%25CC%2581glise..jpg" width="400" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Le carnet de Villard de Honnecourt. Folio 28 - Lutteurs - Plan d'église cistercienne - Chœur de l'église de Cambrai. </span><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Folio 29 - Plans de chevets d'église.</span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span></div>
<span style="font-family: "courier new" , "courier" , monospace;">Giovannino Grassi (1350-1398)) </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">Cada página del libro modelo es una obra de arte en sí misma, tan magistralmente ejecutada que muchos pintores, después de Grassi, la utilizaron como modelo para sus propias creaciones.</span><span style="font-family: "courier new" , "courier" , monospace;"> </span><br />
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<a href="https://2.bp.blogspot.com/-ciB2RQ_uFWQ/W8cZGKppL2I/AAAAAAAAGbA/6ZM8x8wIsHI0rOI9r0S0wnkqToFHeLUagCLcBGAs/s1600/sketch-book-giovannino-grassi-facsimile-edition-04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://2.bp.blogspot.com/-ciB2RQ_uFWQ/W8cZGKppL2I/AAAAAAAAGbA/6ZM8x8wIsHI0rOI9r0S0wnkqToFHeLUagCLcBGAs/s320/sketch-book-giovannino-grassi-facsimile-edition-04.jpg" width="320" /></a></div>
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<a href="https://4.bp.blogspot.com/-wha3LZ-tlNI/W8cZUpaKhZI/AAAAAAAAGbc/80ayvRyg2fY7aOWUu1aEs5_u9z2zeIiigCLcBGAs/s1600/sketch-book-giovannino-grassi-facsimile-edition-31.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://4.bp.blogspot.com/-wha3LZ-tlNI/W8cZUpaKhZI/AAAAAAAAGbc/80ayvRyg2fY7aOWUu1aEs5_u9z2zeIiigCLcBGAs/s320/sketch-book-giovannino-grassi-facsimile-edition-31.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;">Ya en el
Renacimiento tenemos los maravillosos cuadernos de Leonardo da Vinci
(1452-1519) y</span><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "courier new" , "courier" , monospace;"> Alberto Durero (1471-1528) </span></span><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "courier new" , "courier" , monospace;">Grandes observadores de la realidad, </span></span>buscan siempre la <i>verdad</i> en sus cuadernos de anatomía, plantas,
inventos, etc. <span style="mso-spacerun: yes;"></span>realizando <span style="mso-spacerun: yes;"></span>minuciosas observaciones con todo detalle de
plantas, animales, personajes, retratos. <o:p></o:p></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Madrid Codices. Facsimile edition.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">De Divina Proportione. Facsimile edition.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">El libro de oraciones de</span><span style="font-family: "courier new" , "courier" , monospace;"> Claude de France, así llamado por la </span><span style="font-family: "courier new" , "courier" , monospace;">Reina </span><span style="font-family: "courier new" , "courier" , monospace;">Claude </span><span style="font-family: "courier new" , "courier" , monospace;">de Francia, </span><span style="font-family: "courier new" , "courier" , monospace;">es uno de los manuscritos más famosos </span><span style="font-family: "courier new" , "courier" , monospace;">realizados para la corte francesa. E</span><span style="font-family: "courier new" , "courier" , monospace;">scrito e iluminado en 1517, </span><span style="font-family: "courier new" , "courier" , monospace;">destaca por su pequeño formato solo mide 69x49 mm.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Leonardo da Vinci, parece haber sido una de las fuentes de inspiración para el Maestro (desconocido) que dibujó el manuscrito, por una miniatura que recuerda a la Virgen de las Rocas de Leonardo.</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">Francisco I rey de Francia, era un gran aficionado al arte italiano hizo renovar el Castillo de Amboise </span><span style="font-family: "courier new" , "courier" , monospace;">e</span><span style="font-family: "courier new" , "courier" , monospace;"> </span><span style="font-family: "courier new" , "courier" , monospace;">invitó a Leonardo da Vinci a pasar allí sus últimos años.</span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Libro de Oraciones de Claude de Francia -Fascimil-</span><span style="font-family: "courier new" , "courier" , monospace;"></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Esta búsqueda de la realidad con toda su precisión se encuentra en el <i style="mso-bidi-font-style: normal;">Quaderno veneziano</i> de Giovanni Antonio Canal “Canaletto”
(1697-1768) Un precioso volumen de17,5x 23,5 cm. compuesto por siete cuadernos, encuadernados en el siglo XIX, pero originalmente sueltos, llenos de bocetos probablemente realizados en un corto espacio de tiempo, y luego reutilizados por el pintor veneciano a lo largo de los años. con sus escenas urbanas realizadas con la cámara óptica. <o:p></o:p></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Riproduzione di 4 disegni di Canaletto, raffiguranti Campo San Giovanni e Paolo a Venezia, ottenuti con una camera oscura. (Venezia, Gallerie dell'Accademia)</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Desde el S. XVI y XVII una tendencia se fue
imponiendo en Europa entre las clases acomodadas, para culminar la formación intelectual
de sus hijos, era imprescindible que realizaran el <i>Grand Tour</i> o el viaje a
Italia. Con estos movimientos por Europa surgió un nuevo tipo de cuaderno de
artista, el <i style="mso-bidi-font-style: normal;">carnet de voyage, </i>un
diario del viaje con itinerarios, bocetos de monumentos, ciudades y paisajes
visitados.<i style="mso-bidi-font-style: normal;"> </i><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Uno muy interesante es el “Viaje a Italia” de J.W. von
Goethe (1749-1832) con todas sus rutas y cantidad de bocetos y dibujos de todo
tipo. </span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"><i>Aquí soy muy dichoso, se dibuja todo el día y hasta la noche, se pinta, se hacen aguadas, se encola; manualidades y arte se practican en verdad ex profeso.</i></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><i>Viaje a Italia (28.09.1787)</i></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><i><a href="http://www.circulobellasartes.com/fich_libro/Johann__Wolfgang__von__Goethe-Paisajes_(59).pdf">Circulo de Bellas Artes PDF</a></i></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Contemporáneos de Goethe, fueron los artistas ingleses, John Constable (1776-1837)<span style="mso-spacerun: yes;"> </span>con sus estudios de nubes y William Turner (1775-1851). Ambos utilizaron profusamente los cuadernos de dibujo para sus estudios de las
atmósferas cambiantes en sus salidas continuas al campo y al paisaje. </span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Cuaderno de esbozos de John Constable, año 1814</span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><span style="background-color: white; color: #333333; letter-spacing: -0.4px; text-align: left;">JMW Turner, Sketchbook [Turner Bequest XXXV]1792-95</span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">John
Ruskin (1819-1900) en su libro <i style="mso-bidi-font-style: normal;">Pintores
Modernos,</i> hace una magnífica apología del trabajo de Turner, ampliando </span><span style="font-family: "courier new" , "courier" , monospace;">conceptualmente </span><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "courier new" , "courier" , monospace;">con
con sus libros y críticas la teoría sobre el dibujo, lo que que no le impide, </span>desarrollar sus propios estudios y apuntes del natural. <o:p></o:p></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">John Ruskin. Apuntes del natural</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Eugene Delacroix (1798-1863) realiza 7 <i style="mso-bidi-font-style: normal;">carnets de voyage</i> en su viaje a Marruecos, interesantes por la síntesis
tan extraordinaria entre el texto y el dibujo, la composición de las escenas
dentro de la hoja de papel y la vibración sensual del colorido espontáneo. </span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"><br /></span></div>
<span style="font-family: "courier new" , "courier" , monospace;">Edgar Degas (1834-1917) utiliza el cuaderno para documentar las poses de las
bailarinas que luego llevaría a sus cuadros. Vicent Van Gogh (1853-1890) utiliza el dibujo y el texto en sus cuadernos de escuela y en sus cartas a su
hermano Theo. Paul Gauguin (1848-1903) ya dibuja en ellos con la estilización de sus
cuadros, al igual que los dibujos sintéticos de Henri Matisse (1869-1954) o los
cubistas Pablo Picasso (1881-1973). Paul Klee (1879-1940)utiliza los cuadernos como apuntes de sus clases en la Bauhaus, por lo que
parecen lecciones o tratados sobre el color, la forma, la línea, etc. <o:p></o:p></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "courier new" , "courier" , monospace;">Edward Hopper(1882-1967)</span></span><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="font-family: "courier new" , "courier" , monospace;">emplea </span>u</span>n método cercano al Story board, dibujando
las escenas de lo que van a ser sus cuadros con todo tipo de detalles, datos,
reflexiones sobre la luz, la hora del día etc. <o:p></o:p></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Por último y para terminar esta breve introducción a los
cuadernos, nombrar algunos artistas contemporáneos que os pueden venir bien
como referencias para este curso. Por un lado, los muy personales de Juanan
Requena y Herman de Vries. Por otro los cuadernos que encajan más en la línea
del trabajo que vamos a realizar, de Joanna Concejo, Helen Ström, Stefano Faravelli,
Gwen Diehn y <span style="mso-spacerun: yes;"> </span>Nanne Meyer.<o:p></o:p></span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Joanna Concejo Cloudy Days</span></div>
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span></div>
<div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgToqDuxof8vA-N8vska25_zgeWO54ObFRMXQwmWT5XTyHmrKfEXeqSu0GutgsVgvyWBziMuoz96fhpeey8JE3f7JHBJEzxwmNRyQ6BhPZ_reLzTHoUU5XyZZLQnxph6RToNC255rSxdtfaHOj2iHai8VhDCcEDaPV3I5zvR8rJ9evYJxHkKwizrOJvlg/s1000/Nanne%20Meyer%202003_HimmelistErde_04_WEB_1000px.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="680" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgToqDuxof8vA-N8vska25_zgeWO54ObFRMXQwmWT5XTyHmrKfEXeqSu0GutgsVgvyWBziMuoz96fhpeey8JE3f7JHBJEzxwmNRyQ6BhPZ_reLzTHoUU5XyZZLQnxph6RToNC255rSxdtfaHOj2iHai8VhDCcEDaPV3I5zvR8rJ9evYJxHkKwizrOJvlg/w436-h640/Nanne%20Meyer%202003_HimmelistErde_04_WEB_1000px.jpg" width="436" /></a></div><a href="http://nannemeyer.de/EN/Artist-Books/Yearbooks" style="text-align: center;"><span style="color: #999999;">http://nannemeyer.de/EN/Artist-Books/Yearbooks</span></a></div><div class="MsoNormal"><span style="font-family: "courier new" , "courier" , monospace;"><br /></span></div><div class="MsoNormal">
<span style="font-family: "courier new" , "courier" , monospace;">De todos los artistas aquí mencionados tenéis algún ejemplo
en el Tablero de Pinterest Estrategias de Dibujo.<o:p></o:p></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Ejercicio a realizar:<o:p></o:p></span></div>
<p style="text-align: left;"><span style="background-color: white; font-size: 15px;"><span style="color: #666666; font-family: courier;">Un cuaderno de formato máx. Din A4 que contenga (50 estudios aprox.) con las reflexiones del autor incorporadas a las páginas. </span></span><span style="background-color: white; color: #666666; font-family: courier; font-size: 15px;">Los textos funcionarán como un recurso gráfico más.</span></p><p style="text-align: left;"><span style="background-color: white; font-size: 15px;"><span style="color: #666666; font-family: courier;">Temas a estudiar:</span></span></p>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: "courier new" , "courier" , monospace;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]-->El mundo de los objetos<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: "courier new" , "courier" , monospace;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]-->Las plantas<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: "courier new" , "courier" , monospace;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]-->Los animales<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: "courier new" , "courier" , monospace;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4.<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]-->Las personas<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: "courier new" , "courier" , monospace;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5.<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]-->Los espacios interiores<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: "courier new" , "courier" , monospace;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6.<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]-->Las ciudades<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18pt;">
<!--[if !supportLists]--><span style="font-family: "courier new" , "courier" , monospace;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7.<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]-->La naturaleza y el paisaje<o:p></o:p></span><br /></div>Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-86375160689520179682018-04-10T09:35:00.001+02:002018-04-10T09:35:26.123+02:00Buenas memorias de las Unidades de Estudio<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-IThIQheXzC0/Wsxo5QdKgII/AAAAAAAAGQs/q6T6T2pvAc8N5DxX1NaAZCYnkASXjJrsgCLcBGAs/s1600/Captura%2Bde%2Bpantalla%2B2018-04-10%2Ba%2Blas%2B9.28.28.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="752" height="400" src="https://3.bp.blogspot.com/-IThIQheXzC0/Wsxo5QdKgII/AAAAAAAAGQs/q6T6T2pvAc8N5DxX1NaAZCYnkASXjJrsgCLcBGAs/s400/Captura%2Bde%2Bpantalla%2B2018-04-10%2Ba%2Blas%2B9.28.28.jpg" width="281" /></a></div>
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><a href="https://drive.google.com/drive/folders/1c94FVfAeZP2iL09FFVs5UB0EJ9GzJgaB?usp=sharing">Carpeta con algunos ejemplos de buenas Memorias</a></span></div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-55304090250557165562018-04-05T13:51:00.000+02:002018-04-05T13:53:48.742+02:00Blancos, silencios, vacíos....<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
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<!--StartFragment-->
<div class="MsoNormal" style="margin-left: 35.4pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt;">El dibujo procesual </span></b></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt;">intersecciones
entre materia/forma y acabado/significado. <o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt;">Unidad de Estudio 2</span></b></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt;">Blanco<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt;"><br /></span></b></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11pt;">Ante las dudas que se suscitan en las tutorías aclaro el objetivo del ejercicio.</span></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11pt;">Voy a seleccionar obras para una exposición cuyo título será: Blancos, silencios, vacíos....</span></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11pt;">Pasaré por vuestros estudios para seleccionar alguna de vuestras obras, una muestra de las obras seleccionadas son las que expongo aquí. </span></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11pt;">Como sabéis todo artista tiene una amplia gama de registros, pero para esta exposición estoy buscando obras esenciales, sutiles, que reflejen como diría Ryman el "cómo" frente al "qué" </span></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11pt;"></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span style="font-family: Arial, sans-serif;"><span style="font-family: Courier New, Courier, monospace; font-size: 14.6667px;"><i>A Ryman le interesa mucho más lo que él llama el "cómo" de la pintura, el objeto físico en sí mismo, que el "qué" de la pintura, "la imagen, la historia, el simbolismo" que transmiten sentido fuera de la obra.</i></span></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-family: Courier New, Courier, monospace; font-size: 14.6667px;"><i>Ryman cree que la pureza del color blanco es la que mejor resalta la manipulación de la pintura. Sus pinturas y dibujos están destinados a aumentar la conciencia del espectador de las variaciones sutiles en la sustancia de sus materiales y sus pinceladas. La relación de las zonas pintadas con los bordes del soporte también acentúa la variación y la fisicalidad.</i></span></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span style="font-family: Arial, sans-serif;"><span style="font-family: Courier New, Courier, monospace; font-size: 14.6667px;"><i><br /></i></span></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span style="font-family: Arial, sans-serif;"><span style="font-family: Courier New, Courier, monospace; font-size: 14.6667px;">Sobre los formatos sentiros libres de adaptarlos a las necesidades de vuestra obra o proyecto, cuadernos de trabajo, formatos cuadrados, libros objeto, etc. </span></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt;">
<span style="font-family: "arial" , sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-VVTKxHNfiBY/WsYJcb5KkHI/AAAAAAAAGP0/zG8CfO4o0rsuxojwU3CQo4OfBTd76xJyACLcBGAs/s1600/Olivia%2BJeffries%2BCollection%2BOne%253B%2BMuted-%2Ba%2Bcollection%2Bof%2B14%2Boriginal%2Bdrawings%2Bon%2Bsalvaged%2Bbook%2Bpages.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="650" data-original-width="500" height="640" src="https://2.bp.blogspot.com/-VVTKxHNfiBY/WsYJcb5KkHI/AAAAAAAAGP0/zG8CfO4o0rsuxojwU3CQo4OfBTd76xJyACLcBGAs/s640/Olivia%2BJeffries%2BCollection%2BOne%253B%2BMuted-%2Ba%2Bcollection%2Bof%2B14%2Boriginal%2Bdrawings%2Bon%2Bsalvaged%2Bbook%2Bpages.jpg" width="491" /></i></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i>Olivia Jeffries Collection One; </i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i>Muted- a collection of 14 original drawings on salvaged book pages</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-4EhL9Y8KrcA/WsYJha-y5rI/AAAAAAAAGP4/ggGmpyDNEQ8yZ788HrNBplYuFhnY7vdyQCLcBGAs/s1600/Owen%2BSchuh%2B%2BCells%2B2011%252C%2BSilver%2BPoint%252C%2BCopper%2BPoint%2Band%2BBronze%2BPoint%2Bon%2BPrepared%2BPaper%252C%2B40%2Bx%2B40%2Bcm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="1024" data-original-width="1024" height="400" src="https://1.bp.blogspot.com/-4EhL9Y8KrcA/WsYJha-y5rI/AAAAAAAAGP4/ggGmpyDNEQ8yZ788HrNBplYuFhnY7vdyQCLcBGAs/s400/Owen%2BSchuh%2B%2BCells%2B2011%252C%2BSilver%2BPoint%252C%2BCopper%2BPoint%2Band%2BBronze%2BPoint%2Bon%2BPrepared%2BPaper%252C%2B40%2Bx%2B40%2Bcm.jpg" width="400" /></i></span></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i> Owen Schuh Cells 2011, Silver Point, Copper Point and </i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i>Bronze Point on Prepared Paper, 40 x 40 cm</i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-OZFwY7SrfD0/WsYJpb-VlnI/AAAAAAAAGP8/6t1WfuiM1FwqOvc4ypp-WpTiFkcdr6QBgCLcBGAs/s1600/Rachel%2BWhiteread%252C%2BTable%2B%25281997%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="580" data-original-width="553" height="400" src="https://1.bp.blogspot.com/-OZFwY7SrfD0/WsYJpb-VlnI/AAAAAAAAGP8/6t1WfuiM1FwqOvc4ypp-WpTiFkcdr6QBgCLcBGAs/s400/Rachel%2BWhiteread%252C%2BTable%2B%25281997%2529.jpeg" width="381" /></i></span></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i> Rachel Whiteread, Table (1997)</i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-uS_hVnfbc14/WsYJsA69NEI/AAAAAAAAGQA/sjrcCIvX25IGjdCnxf7UvCvqr8dHrliDQCLcBGAs/s1600/RICHARD%2BTUTTLE%2BSource%2Bof%2BImagery%252C%2BI%252C%2Bno.%2B101%2B%25281996%2529%2BAcrylic%252C%2Bcollage%252C%2Bgouache%2Band%2Bink%2Bon%2Bpaper%252C%2Bartist%2527s%2Bframe%2B47%252C6%2Bx%2B47%252C6%2Bx%2B4%252C4%2Bcm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="596" data-original-width="600" height="396" src="https://2.bp.blogspot.com/-uS_hVnfbc14/WsYJsA69NEI/AAAAAAAAGQA/sjrcCIvX25IGjdCnxf7UvCvqr8dHrliDQCLcBGAs/s400/RICHARD%2BTUTTLE%2BSource%2Bof%2BImagery%252C%2BI%252C%2Bno.%2B101%2B%25281996%2529%2BAcrylic%252C%2Bcollage%252C%2Bgouache%2Band%2Bink%2Bon%2Bpaper%252C%2Bartist%2527s%2Bframe%2B47%252C6%2Bx%2B47%252C6%2Bx%2B4%252C4%2Bcm.jpg" width="400" /></i></span></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i> RICHARD TUTTLE Source of Imagery, I, no. 101 (1996) </i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i>Acrylic, collage, gouache and ink on paper, artist's frame 47x47cm</i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-NGXyETc-1qY/WsYJvJUDJVI/AAAAAAAAGQE/09NlVLXo_JcLhnBJxLMm6MFsiMZx2EyCgCLcBGAs/s1600/Robert%2BRyman%252C%2BSurface%2BVeil%252C%2B1970-1971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="993" data-original-width="894" height="400" src="https://4.bp.blogspot.com/-NGXyETc-1qY/WsYJvJUDJVI/AAAAAAAAGQE/09NlVLXo_JcLhnBJxLMm6MFsiMZx2EyCgCLcBGAs/s400/Robert%2BRyman%252C%2BSurface%2BVeil%252C%2B1970-1971.jpg" width="360" /></i></span></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i> Robert Ryman, Surface Veil, 1970-1971</i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/--MPiwnijyFw/WsYJXuQ-5CI/AAAAAAAAGPs/2fiPYciwkgk5Fd-CDHlKI0ifEfMl-sH7ACLcBGAs/s1600/Janet%2BJones%2BMirage%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="1500" data-original-width="1500" height="400" src="https://2.bp.blogspot.com/--MPiwnijyFw/WsYJXuQ-5CI/AAAAAAAAGPs/2fiPYciwkgk5Fd-CDHlKI0ifEfMl-sH7ACLcBGAs/s400/Janet%2BJones%2BMirage%2B1.jpg" width="400" /></i></span></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i> Janet Jones Mirage 1 Collage</i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-8hgrM9Px6W4/WsYJZQCHl5I/AAAAAAAAGPw/sfZ3I2kwmEQB6dZlWmLoVNJkqFA0TBlFQCLcBGAs/s1600/John%2BFraser%2BMorning%2B-%2BWhite.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="750" data-original-width="449" height="640" src="https://2.bp.blogspot.com/-8hgrM9Px6W4/WsYJZQCHl5I/AAAAAAAAGPw/sfZ3I2kwmEQB6dZlWmLoVNJkqFA0TBlFQCLcBGAs/s640/John%2BFraser%2BMorning%2B-%2BWhite.jpg" width="380" /></i></span></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i>John Fraser Morning - White</i></span></div>
<div style="text-align: center;">
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<!--StartFragment-->
<!--EndFragment--><div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-u0cIk8SZ5Dc/WsYJTdimj9I/AAAAAAAAGPo/Vi_MQwLHkG8hmC2oCGZWf-BRiYMDMeJ3QCLcBGAs/s1600/%2BThilo%2BHeinzmann%2BO.T.%252C%2B2014%2BOil%252C%2Bpigment%2Bon%2Bcanvas%252C%2Bunder%2Bplexiglas%2Bcover%2B76.77%2Bx%2B85.43%2Bx%2B4.33%2Bin%2B%253A%2B195%2Bx%2B217%2Bx%2B11%2Bcm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="1000" data-original-width="1125" height="568" src="https://4.bp.blogspot.com/-u0cIk8SZ5Dc/WsYJTdimj9I/AAAAAAAAGPo/Vi_MQwLHkG8hmC2oCGZWf-BRiYMDMeJ3QCLcBGAs/s640/%2BThilo%2BHeinzmann%2BO.T.%252C%2B2014%2BOil%252C%2Bpigment%2Bon%2Bcanvas%252C%2Bunder%2Bplexiglas%2Bcover%2B76.77%2Bx%2B85.43%2Bx%2B4.33%2Bin%2B%253A%2B195%2Bx%2B217%2Bx%2B11%2Bcm.jpg" width="640" /></i></span></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i> Thilo Heinzmann O.T., 2014 Oil, pigment on canvas, </i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace;"><i><span style="font-size: x-small;">under plexiglas cover 195 x 217 x 11 cm</span></i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace;"><i><span style="font-size: x-small;"><br /></span></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-viJh-sRTVxY/WsYJyIYoj_I/AAAAAAAAGQI/w9OIXsj1bFoauQTGIhR0eg2VPMniibcywCLcBGAs/s1600/San%2BMoyer%2B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="630" data-original-width="485" height="640" src="https://2.bp.blogspot.com/-viJh-sRTVxY/WsYJyIYoj_I/AAAAAAAAGQI/w9OIXsj1bFoauQTGIhR0eg2VPMniibcywCLcBGAs/s640/San%2BMoyer%2B.jpg" width="489" /></i></span></a></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i> San Moyer </i></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-PK9H_y09bjs/WsYJ6PO_X6I/AAAAAAAAGQM/lBBo-cGKYI05kmetrhbm_sEMRsMK3GsPwCLcBGAs/s1600/Ju%25CC%2588rgen%2BPartenheimer%2BNirox%2B%2528Dreaming%2BTermites%2529%252C%2B2011%2Bwatercolour%2Band%2Bpencil%2Bon%2Bpaper%2B40%2Bx%2B53%2Bcm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i><img border="0" data-original-height="407" data-original-width="554" height="468" src="https://3.bp.blogspot.com/-PK9H_y09bjs/WsYJ6PO_X6I/AAAAAAAAGQM/lBBo-cGKYI05kmetrhbm_sEMRsMK3GsPwCLcBGAs/s640/Ju%25CC%2588rgen%2BPartenheimer%2BNirox%2B%2528Dreaming%2BTermites%2529%252C%2B2011%2Bwatercolour%2Band%2Bpencil%2Bon%2Bpaper%2B40%2Bx%2B53%2Bcm.jpg" width="640" /></i></span></a></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i>Jürgen Partenheimer Nirox (Dreaming Termites), 2011 </i></span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i>watercolour and pencil on paper 40 x 53 cm</i></span></div>
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<br /></div>
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<span lang="ES-TRAD" style="font-family: "arial" , sans-serif; font-size: 11pt;"><br /></span></div>
<!--EndFragment--><br />Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-77666889270305188572017-09-20T17:45:00.003+02:002017-09-20T18:54:17.666+02:00Yves Berger - From the Orchard to the Garden<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/234289621" webkitallowfullscreen="" width="640"></iframe><br />
<br />
<span style="font-family: Courier New, Courier, monospace;">YVES BERGER</span><br />
<div>
<span style="font-family: Courier New, Courier, monospace;"><i>From the Orchard to the Garden</i></span></div>
<div>
<span style="font-family: Courier New, Courier, monospace;"><br /></span>
<span style="font-family: Courier New, Courier, monospace;"><i>"La muestra incluye obra reciente en papel realizada mediante tres técnicas diferentes: monotipos de manzanos, creados durante la primavera de 2016; grabados de figuras humanas, en las que ha trabajado durante los últimos años; y dibujos al pastel de flores, llevados a cabo en un jardín botánico alpino durante el mes de junio de 2016. </i></span></div>
<div>
<span style="font-family: Courier New, Courier, monospace;"><i><br /></i></span></div>
<div>
<span style="font-family: Courier New, Courier, monospace;"><i>Jugando con su obra Berger descubrió como las temáticas elegían entretejerse unas con otras. Al principio </i></span><i style="font-family: "Courier New", Courier, monospace;">trabajando con la idea de mantenerlas separadas, como diferentes habitaciones de una misma casa, </i><i style="font-family: "Courier New", Courier, monospace;">desarrolló durante meses en una estructura que fue progresivamente alejándolo de su punto de partida.</i></div>
<div>
<span style="font-family: Courier New, Courier, monospace;"><i>No era más un tríptico lo que encaraba, sino un viaje en el que se embarcaba.</i></span></div>
<div>
<span style="font-family: Courier New, Courier, monospace;"><i><br /></i></span></div>
<div>
<span style="font-family: Courier New, Courier, monospace;"><i>Un viaje desde árboles frutales en flor hasta alfombras de frágiles flores, desde oscuras y húmedas ramas hasta pistilos rodeados por chillones y vívidos colores. A través de esta ofrenda visual de la naturaleza avanza la figura humana “cazando, dudando, sufriendo y esperando”.</i></span><br />
<span style="font-family: Courier New, Courier, monospace;"><br /></span>
<span style="font-family: Courier New, Courier, monospace; font-size: x-small;">Nota de Prensa de Ivorypress</span></div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-77261396647464974012017-06-07T09:00:00.002+02:002017-06-07T09:01:44.782+02:00Exposición Cuando la nieve quema en Alcalá<span style="background-color: white; font-family: "courier new" , "courier" , "freemono" , monospace; font-size: 13.2px;">El viernes 9 de junio a las 19:00 h. inauguramos una exposición con obras sobre papel en la Casa de la Entrevista en Alcalá de Henares.</span><br />
<span style="background-color: white; font-family: "courier new" , "courier" , "freemono" , monospace; font-size: 13.2px;"><br /></span>
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<span style="background-color: white; font-family: "courier new" , "courier" , "freemono" , monospace; font-size: 13.2px;"><br /></span>
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<span style="background-color: white; font-family: "courier new" , "courier" , "freemono" , monospace; font-size: 13.2px;"><br /></span>Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-4823239378934723232017-02-27T11:57:00.001+01:002017-02-28T12:32:34.038+01:00Breve breviario sobre dibujo y otras cuestiones<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Dibuja.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Dibuja.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Sí, sal a dibujar, dibújalo todo.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Cuando se dibuja se tranquiliza la mente</span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">te vuelves más observador,</span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">más tranquilo,</span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">agudizas la inteligencia a través del ojo.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Prueba materiales, conócelos, experimenta hasta la extenuación.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">La clase te da a conocer herramientas, su uso, lo que se puede o no hacer, pero siempre estará sujeto a revisión y crítica </span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">¿y por qué esto no? </span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">voy y lo hago</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Ah, ya sé lo que se puede o no hacer desde mi propia experiencia, no se me olvidará jamás.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">La Universidad, la Facultad, te proveen de pensamiento crítico, no de un trabajo.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">No todos seremos artistas profesionales, porque no hay mercado suficiente para todos.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Pero podemos pensar en qué se nos da realmente bien, en qué somos buenos y potenciar ese perfil.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Completa tus conocimientos con muchos cursos, conferencias, charlas, jornadas, nunca ha sido tan fácil la autoformación con la cantidad de cursos online gratuitos.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Es necesario que dibujes con programas de dibujo vectorial, que hagas una historia animada, nadie nace sabiendo, pero es necesario aprenderlo.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">No tomes al pie de la letra los comentarios del profesor, pero reconoce lo que es sincero. </span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Piensa que la distancia sobre el propio trabajo da una perspectiva diferente, casi siempre más objetiva, si se puede hablar de objetividad en arte. </span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">En todo caso reconoce quién te quiere ayudar y quién no.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">En esta asignatura y en la carrera, es importante compartir y debatir tus ideas y proyectos con otros compañeros, sus opiniones muchas veces te sacarán de errores de enfoque o te proporcionarán nuevas ideas o planteamientos.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">No te aísles.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Entre pensar y dibujar: siempre dibuja pensando o piensa dibujando, las dos cosas a la vez, no las separes.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Cuando te das cuenta de la cantidad de ideas y materiales que estás barajando para un proyecto o una entrega, quita, siempre quita, hasta que ya no puedas quitar más, entonces y solo entonces empezarás a tener algo.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Cuando dibujamos trabajamos sobre una superficie, trasladamos a dos dimensiones un mundo de tres dimensiones, es importante que hagamos la operación inversa como ejercicio intelectual. Realizar maquetas, modelos, pequeñas estructuras tridimensionales de nuestros dibujos, nos aportarán nuevas perspectivas sobre la escala, punto de vista, especialidad, textura, etc.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Las discusiones teóricas, los autores imprescindibles, ya sabéis Heidegger, Benjamin, Ranciere, Foucault, etc. que estudiamos en la carrera casi siempre vertieron sus argumentaciones en otro contexto y en otro tiempo, es posible que hoy las citas a ciertos autores recurrentes o de moda, no tengan ya ningún sentido y las estemos repitiendo año tras año. </span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Ante la duda, mejor pensar uno mismo que citar, dar cabida al pensamiento propio frente a la socorrida cita ajena.</span></div>
<div class="p1">
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">La sociedad se ha transformado en los últimos 30 años más que en todo el siglo anterior, todo lo que hoy aprendemos solo son herramientas que servirán para ayudarnos a seguir aprendiendo ante los nuevos retos que nos esperan. </span><br />
<span style="font-family: "courier new" , "courier" , monospace; font-size: small;">No hay saber cerrado, siempre estaremos aprendiendo, creando, innovando, proponiendo y haciendo, siempre haciendo.</span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">El próximo <span style="font-family: "courier new" , "courier" , monospace;">13</span> y <span style="font-family: "courier new" , "courier" , monospace;">14</span> de marzo se realizarán las entregas y corrección pública de la Unidad de Estudio 3 </span><br />
<b style="background-color: white; color: #666666; font-family: "courier new", courier, monospace; font-size: 12pt; text-align: justify;"><span lang="ES-TRAD">Gráficas ampliadas.</span></b><b style="background-color: white; color: #666666; font-family: "courier new", courier, monospace; font-size: 12pt; text-align: justify;"><span lang="ES-TRAD" style="font-size: 11pt;"> </span></b><b style="color: #666666; font-family: "Times New Roman"; font-size: 12pt;"><span lang="ES-TRAD" style="font-size: 11pt;"><span style="font-family: "courier new" , "courier" , monospace;">El dibujo procesual: intersecciones entre materia/forma y acabado/significado.</span></span></b><br />
<span style="color: #666666; font-family: "courier new" , "courier" , monospace;"><span style="font-size: 14.6667px;">Como sabéis es necesario tener una tutoría como mínimo antes de la entrega, os emplazo a que la solicitéis cuanto antes.</span></span><br />
<span style="color: #666666; font-family: "courier new" , "courier" , monospace;"><span style="font-size: 14.6667px;"><br /></span></span>
<span style="color: #666666; font-family: "courier new" , "courier" , monospace;"><span style="font-size: 14.6667px;"><iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/22588353" webkitallowfullscreen="" width="640"></iframe></span></span><br />
<span style="font-size: 14.6667px;"><span style="color: #666666; font-family: "courier new" , "courier" , monospace; font-size: 14.6667px;"></span></span><br />
<span style="color: #666666; font-family: "courier new" , "courier" , monospace;"><span style="font-size: 14.6667px;"><a href="https://vimeo.com/22588353">A.P. Visita de estudio José León Cerrillo</a> from <a href="https://vimeo.com/user3546638">Museo Tamayo</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></span><br />
<span style="color: #666666; font-family: "courier new" , "courier" , monospace;"><span style="font-size: 14.6667px;"><br /></span></span>Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com1tag:blogger.com,1999:blog-1657938328730100395.post-48431496737721964432016-04-17T20:45:00.003+02:002016-04-18T16:16:59.746+02:00El dibujo procesual: intersecciones entre materia/forma y acabado/significado.<div class="MsoNormal" style="text-align: justify; text-indent: 35.4pt;">
<span style="font-family: "courier new" , "courier" , monospace;"><span lang="ES-TRAD" style="font-size: 14pt;">Unidad de estudio </span><span lang="ES-TRAD" style="font-size: 14pt;">3</span><span lang="ES-TRAD" style="font-size: 20pt;"><span style="mso-spacerun: yes;">
</span></span><span lang="ES-TRAD"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: "courier new" , "courier" , monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD">Gráficas
ampliadas</span></b><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-size: 11pt;">:
<o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-size: 11pt;"><span style="font-family: "courier new" , "courier" , monospace;">3. El dibujo procesual: intersecciones
entre materia/forma y acabado/significado. <o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="ES-TRAD" style="font-size: 11pt;"><span style="font-family: "courier new" , "courier" , monospace;">Ejercicios
de composición: <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<ol start="1" style="margin-top: 0cm;" type="1">
<li class="MsoNormal" style="mso-list: l0 level1 lfo1;"><span style="font-family: "courier new" , "courier" , monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-size: 11pt;">Blanco:</span></b><span lang="ES-TRAD" style="font-size: 11pt;"> </span><span lang="ES-TRAD">Composición Blanca, distintos
blancos, texturas blancas, densidades, collages. Ejemplos de artistas para
estudiar: <i style="mso-bidi-font-style: normal;">Robert Ryman, </i></span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-size: 11.5pt;">Sam Moyer, Owen
Schuh, Janet Jones, Olivia Jeffries, Rachel Whiteread, James Bishop,
Richard Tuttle, Thilo Heinzmann, Henryk Stażewski, Helen Frankenthaler.</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;"><o:p></o:p></span></i></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1;"><span style="font-family: "courier new" , "courier" , monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD">Negro:</span></b><span lang="ES-TRAD"> Composición Negra,
distintos negros, texturas, densidades, collages. Ejemplos de artistas
para estudiar: <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Wes Mills, </i></span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-size: 11.5pt;">Richard Serra, Jürgen Partenheimer, Otto Piene, James Hoff, Martin
Puryear, Donald Sultan, Marijn Akkermans, Jakob Gasteiger, Eva Hesse, Mary
Osmundsen, John Batho, Dorothea Rockburne, Franz Kline.</span></i><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD"><o:p></o:p></span></i></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1;"><span style="font-family: "courier new" , "courier" , monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD">Tachismo:</span></b><span lang="ES-TRAD">
Tachadura activa, garabato expresivo, trayectorias, recortes,
transposición y escala. Ejemplos de artistas para estudiar: <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Cy
Twombly, Hartung, </i></span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-size: 11.5pt;">Mel Bochner, Joan Mitchell, Brice Marden, Richard Serra, Bernar Venet,
Joseph Beuys, Pierre Soulages, Rodrigo Pecci, Sophie Victoria Elliott,
Franz Kline.</span></i><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD"><o:p></o:p></span></i></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1;"><span style="font-family: "courier new" , "courier" , monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD">Borraduras:</span></b><span lang="ES-TRAD">
Activación del error, la borradura y el recorte. Ejemplos de artistas para
estudiar: <i style="mso-bidi-font-style: normal;">William Kentridge, </i></span><span class="longtext"><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="background: white; font-size: 11pt;">Joel Shapiro, </span></i></span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-size: 11.5pt;">Monika
Brandmeier,</span></i><i style="mso-bidi-font-style: normal;"><span style="background: white; font-size: 11.5pt;"> Benjamin Cottam,
Gerhard Richter, Mathilde Roussel, Doug Glovaski, Ginny Grayson, John
Batho, Il Lee, Mark Rothko.</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;"><o:p></o:p></span></i></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1;"><span style="font-family: "courier new" , "courier" , monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD">Mancha húmeda</span></b><span lang="ES-TRAD">, goteo.
La gota de agua, de aceite. Su difusión en los distintos soportes.
Dispersión, teñido, gota de tinte sobre médiums. Ejemplos de artistas para
estudiar: <i style="mso-bidi-font-style: normal;">Eva Hesse, José M.
Iturralde, </i></span><i style="mso-bidi-font-style: normal;"><span style="background: white; font-size: 11.5pt;">Anish Kapoor, Agnes Martin, Chistine Moor, Marijn Akkermans, Mayako
Nakamura, Otto Piene, Clint Fulkerson, Richard Tuttle, Kwon Young-Woo,
Thilo Heinzmann, Mark Rothko.</span></i><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD"><o:p></o:p></span></i></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1;"><span style="font-family: "courier new" , "courier" , monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD">Línea activa.</span></b><span lang="ES-TRAD"> Control
de la línea, la línea dibujada como línea, grosor constante, composición
lineal. Ejemplos de artistas para estudiar: <i style="mso-bidi-font-style: normal;">Ben Nicholson, Michael Craig, Peter Kock, </i></span><span class="longtext"><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="background: white; font-size: 11pt;">Joel Shapiro, </span></i></span><span class="longtext"><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="background: white; font-size: 11pt;">Guillermo Kuitca, Terri Brooks, Emma McNally, Ginny
Grayson, Eduardo Chillida, Dorothea Rockburne.</span></i></span><span class="longtext"><span lang="ES-TRAD"><o:p></o:p></span></span></span></li>
</ol>
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<a href="https://1.bp.blogspot.com/-2ziuptTFIaw/VxPZVUFROsI/AAAAAAAAFco/aN1lyoMQLnM8whdmROKiHWkR-PIpusFvACLcB/s1600/Richard%2BTuttle%252C%2BSource%2Bof%2BImagery%252C%2BI%252C%2Bno.%2B100%2B%25281996%2529%2BAcrylic%252C%2Bcollage%2Band%2Bgraphite%2Bon%2Bpaper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-2ziuptTFIaw/VxPZVUFROsI/AAAAAAAAFco/aN1lyoMQLnM8whdmROKiHWkR-PIpusFvACLcB/s400/Richard%2BTuttle%252C%2BSource%2Bof%2BImagery%252C%2BI%252C%2Bno.%2B100%2B%25281996%2529%2BAcrylic%252C%2Bcollage%2Band%2Bgraphite%2Bon%2Bpaper.jpg" width="398" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="ES-TRAD"><o:p><span style="font-family: "courier new" , "courier" , monospace;"> </span></o:p></span><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Richard Tuttle, Source of Imagery, I, no. 100 (1996)</span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Acrylic, collage and graphite on paper.</span></div>
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<br />
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><a href="https://drive.google.com/file/d/0Bwr3vbqMofQsQjBWbDdEV2ljV3M/view?usp=sharing">Link a Unidad de estudio 3 Gráficas ampliadas en Drive</a></span></div>
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="ES-TRAD"><span style="font-family: "courier new" , "courier" , monospace;"><span style="mso-tab-count: 1;"> </span>Se pueden
consultar obras de estos artistas en </span></span><span style="font-family: "courier new" , "courier" , monospace;">los </span><span style="font-family: "courier new" , "courier" , monospace;">Tableros:</span><span style="font-family: "courier new" , "courier" , monospace;"> </span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace;"><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD"><span style="mso-tab-count: 1;"> </span>Gráficas Contemporáneas</span></i><span lang="ES-TRAD">
y <i style="mso-bidi-font-style: normal;">Geometrías Sensibles</i><o:p></o:p></span></span></div>
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<span lang="ES-TRAD"><span style="font-family: "courier new" , "courier" , monospace;"> <a href="https://es.pinterest.com/antoniorabazas/">https://es.pinterest.com/antoniorabazas/</a></span><span style="font-family: "arial";"><o:p></o:p></span></span></div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-50726025022677092632016-03-06T11:42:00.000+01:002016-03-06T13:21:07.569+01:00Ejemplos de trabajos de alumnos Unidad de Estudio 1En esta carpeta de drive <a href="https://drive.google.com/open?id=0Bwr3vbqMofQsNm9zWjA3QlF3d0E">Ejemplos trabajos alumnos Kiki Smith</a> podéis ver algunas muestras interesantes sobre el trabajo realizado para esta Unidad de estudio en otros cursos.<br />
Espero sean sugerentes y os animen a realizar un buen proyecto.<br />
Os dejo aquí una muestra:<br />
<br />
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Tesa Doniga Kiki moldes</div>
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<a href="https://3.bp.blogspot.com/-puoMd9jJ8Kw/VtwDWIkOgjI/AAAAAAAAFAs/nR3yiLxre7M/s1600/Sila%2BHerrera%2Banalogia%2Bde%2Blos%2Barboles_12gofradosweb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://3.bp.blogspot.com/-puoMd9jJ8Kw/VtwDWIkOgjI/AAAAAAAAFAs/nR3yiLxre7M/s320/Sila%2BHerrera%2Banalogia%2Bde%2Blos%2Barboles_12gofradosweb.jpg" width="320" /></a></div>
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Sila Herrera analogía de los arboles_Página_12 gofrados</div>
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Sila Herrera analogía de los arboles_15</div>
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<a href="https://1.bp.blogspot.com/-uXcgdnD_YcA/VtwIYPB_VVI/AAAAAAAAFCI/-YhIMwGaSqg/s1600/area_tematica1%2BRaquel%2BSanchez_Pa%25CC%2581gina_06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-uXcgdnD_YcA/VtwIYPB_VVI/AAAAAAAAFCI/-YhIMwGaSqg/s400/area_tematica1%2BRaquel%2BSanchez_Pa%25CC%2581gina_06.jpg" width="255" /></a></div>
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Unidad Estudio 1 Raquel Sanchez Página_06</div>
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Kiki Smith Raquel Jiménez</div>
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<a href="https://4.bp.blogspot.com/-f_omZf4RTw8/VtwDi-wpIhI/AAAAAAAAFA0/KEBqvikYxRU/s1600/Nieves%2Bde%2Bla%2BFuente%2BMoldes%2BKiki%2BSmith%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-f_omZf4RTw8/VtwDi-wpIhI/AAAAAAAAFA0/KEBqvikYxRU/s320/Nieves%2Bde%2Bla%2BFuente%2BMoldes%2BKiki%2BSmith%2B2.jpg" width="240" /></a></div>
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Nieves de la Fuente Moldes Kiki Smith 2</div>
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<a href="https://3.bp.blogspot.com/-K2yrYJ_z6ZU/VtwDpNBAMUI/AAAAAAAAFA4/8AU1th1UEzE/s1600/Arian%2BMenendez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://3.bp.blogspot.com/-K2yrYJ_z6ZU/VtwDpNBAMUI/AAAAAAAAFA4/8AU1th1UEzE/s320/Arian%2BMenendez.jpg" width="320" /></a></div>
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Kiki Smith Arian Menendez</div>
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<a href="https://3.bp.blogspot.com/-VTmNODbEt4s/VtwDxgYCf3I/AAAAAAAAFBA/qLKhhxsKYeo/s1600/Martinez%2BFrancisco%2BKIKI%2BSMITH_Pa%25CC%2581gina_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-VTmNODbEt4s/VtwDxgYCf3I/AAAAAAAAFBA/qLKhhxsKYeo/s320/Martinez%2BFrancisco%2BKIKI%2BSMITH_Pa%25CC%2581gina_5.jpg" width="226" /></a></div>
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Martinez Francisco KIKI SMITH_Página_5</div>
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Kiki Sara García</div>
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Kiki universo pulsátil 2</div>
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Ángela_Hernández_Domingo</div>
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Catálogo KikiSmith_Cristina_Pontijas_Martín_G.10_Página_04</div>
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Javier Muñoz Kiki</div>
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Jorge Anguita - El Cuerpo Fragmentado_Página_15</div>
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An Wei Lu Li kiki Smith trabajo final_Página_14</div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-87912232098443431252016-03-05T21:10:00.003+01:002016-03-05T21:10:39.628+01:00Una semana más, Unidad de Estudio 1<span style="font-family: Courier New, Courier, monospace;">Aunque lo he comentado en las clases lo dejo aquí por si todavía alguien no se ha enterado.</span><br />
<span style="font-family: Courier New, Courier, monospace;">Se pospone una semana más la entrega de la Unidad de Estudio 1 Poéticas Frágiles.</span><br />
<span style="font-family: Courier New, Courier, monospace;">Se realizará por tanto el día <b>14</b> para el grupo 1 y el día <b>15</b> para el grupo 4.</span><br />
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<a href="https://2.bp.blogspot.com/--bCQYb1MG4o/Vts89z-GcgI/AAAAAAAAE9s/Rv6P7l-Cyak/s1600/Meret%2BOppenheim%252C%2BGlove%252C%2B1985.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace;"><img border="0" height="320" src="https://2.bp.blogspot.com/--bCQYb1MG4o/Vts89z-GcgI/AAAAAAAAE9s/Rv6P7l-Cyak/s320/Meret%2BOppenheim%252C%2BGlove%252C%2B1985.jpg" width="240" /></span></a></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;">Meret Oppenheim, Glove, 1985</span></div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-55684102357596697792016-02-14T21:13:00.000+01:002016-02-14T21:28:25.506+01:00Nancy Spero. Poéticas duras sobre la mujer <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "courier new" , "courier" , monospace;">Como complemento a la primera Unidad de Estudio sobre Kiki Smith dejo esta pequeña muestra de la Obra de Nancy Spero, en la que podéis encontrar similitudes técnicas: soportes frágiles, relatos, polípticos, series, collage, impresiones, textos, imágenes múltiples, etc. </span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">Os sugiero visitar las páginas del <a href="http://www.macba.cat/es/expo-nancy-spero">MACBA</a> y el <a href="http://www.museoreinasofia.es/exposiciones/nancy-spero-disidanzas">MNCARS</a></span></div>
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<a href="https://1.bp.blogspot.com/-yH9ol2Sh_14/VsDZ5fcXscI/AAAAAAAAE5E/MgrEfWOrlHM/s1600/Catalogo%2BNancy%2BSpero%2BDisidanzas%2Bpp.%2B66_67.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392" src="https://1.bp.blogspot.com/-yH9ol2Sh_14/VsDZ5fcXscI/AAAAAAAAE5E/MgrEfWOrlHM/s640/Catalogo%2BNancy%2BSpero%2BDisidanzas%2Bpp.%2B66_67.jpg" width="640" /></a></div>
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><i> Catálogo Nancy Spero Disidanzas pp. 66_67</i></span></div>
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<a href="https://3.bp.blogspot.com/-mmGriaeuadc/VsDZ_VfgmVI/AAAAAAAAE5I/GCMtOQ1kOYI/s1600/Search%2Band%2BDestroy%2B%2528Busca%2By%2Bdestruye%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="76" src="https://3.bp.blogspot.com/-mmGriaeuadc/VsDZ_VfgmVI/AAAAAAAAE5I/GCMtOQ1kOYI/s640/Search%2Band%2BDestroy%2B%2528Busca%2By%2Bdestruye%2529.jpg" width="640" /></a></div>
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<span style="background-color: white; font-size: 12px; line-height: 21.6px;"><span style="color: #404041; font-family: "courier new" , "courier" , monospace;"><i>Nancy Spero Search and Destroy (Busca y destruye)</i></span></span></div>
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<i><span style="font-family: "courier new" , "courier" , monospace;"><span style="background-color: white; color: #404041; line-height: 21.6px;">"La obra sobre Artaud comprende unos 60 cuadros hechos en aguada y collage y el vasto </span><span style="background-color: white; color: #404041; line-height: 21.6px;">Codex Artaud</span><span style="background-color: white; color: #404041; line-height: 21.6px;">, 34 rollos compuestos de hojas pegadas entre sí. Ejecutados sobre papel, son obras frágiles, a veces dolorosamente efímeras, en las que utiliza una mezcla de escritura, dibujo y collage. El texto de Artaud, escrito a mano o a máquina, se combina con pequeñas imágenes pintadas, creadas como una extensión de las palabras. El formato abierto y alargado de las obras recuerda a los rollos chinos y japoneses, a los papiros y pinturas funerarias egipcias, así como a miniaturas y tapices medievales. Este formato y el uso de papeles endebles combinados con collage, imágenes y escritos yuxtapuestos se han convertido, desde entonces, en el sello de sus obras."</span></span></i><br />
<i><span style="font-family: "courier new" , "courier" , monospace;"><span style="background-color: white; color: #404041; line-height: 21.6px;">Fuente Macba </span></span></i><span style="background-color: white; font-family: "courier new" , "courier" , monospace; font-size: 16px; text-transform: uppercase;"><a href="http://www.macba.cat/es/expo-nancy-spero">CODEX ARTAUD</a></span><br />
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<i><span style="font-family: "courier new" , "courier" , monospace;"><a href="https://3.bp.blogspot.com/-LBriRxwC0pU/VsDaIqb7dFI/AAAAAAAAE5g/oDhAEUCn_X0/s1600/Catalogo%2BNancy%2BSpero%2BDisidanzas%2Bpp.%2B92-93.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392" src="https://3.bp.blogspot.com/-LBriRxwC0pU/VsDaIqb7dFI/AAAAAAAAE5g/oDhAEUCn_X0/s640/Catalogo%2BNancy%2BSpero%2BDisidanzas%2Bpp.%2B92-93.jpg" width="640" /></a></span></i></div>
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<span style="font-size: x-small;"><i style="color: #404041; line-height: 21.6px;"><span style="font-family: "courier new" , "courier" , monospace;"> </span></i><span style="color: #404041; font-family: "courier new" , "courier" , monospace;"><span style="line-height: 21.6px;"><i>Catalogo Nancy Spero Disidanzas pp. 92-93</i></span></span></span></div>
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<span style="font-size: x-small;"><i style="color: #404041; line-height: 21.6px;"><span style="font-family: "courier new" , "courier" , monospace;"> </span></i><span style="color: #404041; font-family: "courier new" , "courier" , monospace;"><span style="line-height: 21.6px;"><i>Catalogo Nancy Spero Disidanzas pp. 122-123</i></span></span></span></div>
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<i><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><a href="https://3.bp.blogspot.com/-_QR9upZ4JSk/VsDaIEIBfyI/AAAAAAAAE5M/bTLJoaiW2K8/s1600/Catalogo%2BNancy%2BSpero%2BDisidanzas%2Bpp.%2B126-127.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="393" src="https://3.bp.blogspot.com/-_QR9upZ4JSk/VsDaIEIBfyI/AAAAAAAAE5M/bTLJoaiW2K8/s640/Catalogo%2BNancy%2BSpero%2BDisidanzas%2Bpp.%2B126-127.jpg" width="640" /></a></span></i></div>
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<span style="font-size: x-small;"><i style="color: #404041; line-height: 21.6px;"><span style="font-family: "courier new" , "courier" , monospace;"> </span></i><span style="color: #404041; font-family: "courier new" , "courier" , monospace;"><span style="line-height: 21.6px;"><i>Catalogo Nancy Spero Disidanzas pp. 126-127</i></span></span></span></div>
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<i><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGAkCjvAKDpOZgrGEwaxaKDmKPuuDZK9nZpo1As3IiSM26cZ45bABkREAYWNlMH9oJPrZmssu69P2k3kPQRv9pYN6lzLd16gw6FvRCDiY-qcwB7_8hDYZXLQdogsJkQM4qi691SHeK56k/s1600/Catalogo+Nancy+Spero+Disidanzas+pp.+144-145.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGAkCjvAKDpOZgrGEwaxaKDmKPuuDZK9nZpo1As3IiSM26cZ45bABkREAYWNlMH9oJPrZmssu69P2k3kPQRv9pYN6lzLd16gw6FvRCDiY-qcwB7_8hDYZXLQdogsJkQM4qi691SHeK56k/s640/Catalogo+Nancy+Spero+Disidanzas+pp.+144-145.jpg" width="640" /></a></span></i></div>
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<span style="font-size: x-small;"><i style="color: #404041; line-height: 21.6px;"><span style="font-family: "courier new" , "courier" , monospace;"> </span></i><span style="color: #404041; font-family: "courier new" , "courier" , monospace;"><span style="line-height: 21.6px;"><i>Catalogo Nancy Spero Disidanzas pp. 144-145</i></span></span></span></div>
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<span style="font-size: x-small;"><i style="color: #404041; line-height: 21.6px;"><span style="font-family: "courier new" , "courier" , monospace;"> Nancy Spero </span></i><span style="color: #404041; font-family: "courier new" , "courier" , monospace;"><span style="line-height: 21.6px;"><i>Codex Artaud XXXIII B 1972</i></span></span></span></div>
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<i><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"> Nancy Spero Codex Artaud XXXIII C 1972</span></i></div>
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<i><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"> Nancy Spero Codex Artaud VI 1971</span></i></div>
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<i><span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;"><a href="https://1.bp.blogspot.com/-1vo2-dykmdk/VsDaJNKX8II/AAAAAAAAE5s/EpF7D_DPgcY/s1600/Nancy%2BSpero%2BCodex%2BArtaud%2BVII%2B1971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="112" src="https://1.bp.blogspot.com/-1vo2-dykmdk/VsDaJNKX8II/AAAAAAAAE5s/EpF7D_DPgcY/s640/Nancy%2BSpero%2BCodex%2BArtaud%2BVII%2B1971.jpg" width="640" /></a></span></i></div>
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<i><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #404041; font-size: x-small;"><span style="line-height: 21.6px;">Nancy Spero Codex Artaud VII 1971</span></span></span></i></div>
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<i><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #404041; font-size: x-small;"><span style="line-height: 21.6px;"> Nancy Spero Codex Artaud XXXIII A 1972</span></span></span></i></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">"El pasado y presente de las mujeres queda inextricablemente entrelazado por la violencia de género", estas declaraciones pertenecen a la artista norteamericana </span><strong style="background-color: white; box-sizing: border-box; color: #333333; font-size: 15px; line-height: 24px; text-align: start;">Nancy Spero </strong><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">quien, entre los años 1974 y 1976, decidió llevar a cabo una revisión de la historia de la violencia sufrida por las mujeres a través de la más perversa de sus manifestaciones: la tortura. Spero convertirá en protagonistas de </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-size: 15px; line-height: 24px; text-align: start;"><strong style="box-sizing: border-box;">Torture of Women </strong></em><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">a todas las mujeres presentes en los informes elaborados por Amnistía Internacional a finales de 1972. Al entonces presente, la artista sumará también el tiempo histórico en alternancia con el mitológico planteando así cómo el agravio hacia el cuerpo de las mujeres es una constante en la historia.</span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">A juicio de la propia artista, el principal problema que debió enfrentar en </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-size: 15px; line-height: 24px; text-align: start;">Torture of Women </em><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">fue cómo hacer visible la obscenidad de la tortura sin dejar que la obra en sí se volviera obscena. Lo resolverá utilizando el texto como recurso estético: cajas de grafías en cuyo interior aparece confinada una figura, marcos realizados con caracteres mecanografiados que albergan citas, fragmentos de texto que flotan en el vacío.... </span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">Al margen de las propiedades estéticas de la grafía, Spero también utiliza la palabra con el fin de comunicar información. De hecho, los textos son una explicación explícita de los métodos de tortura relatados a través de informes, experiencias, definiciones y reflexiones analíticas. "Explicit Explanation", palabras estampadas a mano en grandes letras amarillas e inspiradas en las</span><em style="background-color: white; box-sizing: border-box; color: #333333; font-size: 15px; line-height: 24px; text-align: start;">explanatio </em><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">que en el códice del </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-size: 15px; line-height: 24px; text-align: start;"><strong style="box-sizing: border-box;">Beato de Liébana </strong></em><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">acompañan a las aterradoras secuencias, </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-size: 15px; line-height: 24px; text-align: start;">storiae, </em><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">del Juicio Final.</span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><span style="background-color: white; color: #333333; font-size: 15px; line-height: 24px;">Fuente: </span></span><a href="http://mas.asturias24.es/secciones/culturas24/noticias/dejad-que-el-sacerdote-tiemble-1/1415731476"><span style="background-color: white; box-sizing: border-box; color: #333333; font-size: 15px; line-height: 24px;"><em style="box-sizing: border-box;"><span style="font-family: "courier new" , "courier" , monospace;">Lo hace porque te quiere </span></em></span><span style="background-color: white; color: #333333; font-family: "courier new" , "courier" , monospace; font-size: 15px; line-height: 24px;">Valey Centro Cultural de Castrillón</span></a></div>
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<i><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #404041; font-size: x-small;"><span style="line-height: 21.6px;">Nancy Spero Fragmentos </span></span></span></i></div>
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Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-27215177202602794652015-09-30T17:39:00.002+02:002015-09-30T19:33:13.156+02:00El laberinto del mundo - El dibujo en el arte contemporáneo<br />
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<span style="background-color: white; font-family: 'Proxima Nova', 'helvetica neue', helvetica, arial, sans-serif; font-size: 60px; white-space: nowrap;"><span style="color: #666666;">Linie, line, línea</span></span></div>
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<span lang="EN-US" style="color: #292929; font-size: 12pt; position: relative; top: 0.5pt;"><span style="font-family: Courier New, Courier, monospace;">Dibujo<span style="letter-spacing: 1.45pt;"> </span>contempo<span style="letter-spacing: -.2pt;">r</span>áneo</span></span><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;">Narrativas contemporáneas serie </span><br />
<span style="color: #222222; font-size: 13px; line-height: 19.5px;"><span style="font-family: Courier New, Courier, monospace;">The Fourth-Dimensional Demonstrator (2012)</span></span><br />
<a href="http://www.marcelvaneeden.nl/works/the-fourth-dimensional-demonstrator-2010"><span style="font-family: Courier New, Courier, monospace;">Marcel van Eeden</span></a><br />
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<br />Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-33960011485215891842015-03-22T19:05:00.000+01:002015-03-22T19:27:13.347+01:00Unidad de Estudio 2 materia/forma, acabado/ significado _ Guillermo Kuitca, Joel Shapiro.<div class="MsoNormal" style="text-align: justify; text-indent: 35.4pt;">
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<a href="http://4.bp.blogspot.com/-MTE3ln8aO3I/VQ8GviTMu2I/AAAAAAAAENk/3FkUdivDA7Q/s1600/Guillermo%2BKuitca%2BMozart-da%2BPonte%2BI%2C%2B1995.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><img border="0" src="http://4.bp.blogspot.com/-MTE3ln8aO3I/VQ8GviTMu2I/AAAAAAAAENk/3FkUdivDA7Q/s1600/Guillermo%2BKuitca%2BMozart-da%2BPonte%2BI%2C%2B1995.jpg" height="307" width="400" /></span></a></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"> Guillermo Kuitca Mozart-da Ponte I, 1995</span></div>
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<a href="http://2.bp.blogspot.com/-5vplhmiytqM/VQ8GwAkGyTI/AAAAAAAAENs/FaoOyST4F-A/s1600/Kuitca.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><img border="0" src="http://2.bp.blogspot.com/-5vplhmiytqM/VQ8GwAkGyTI/AAAAAAAAENs/FaoOyST4F-A/s1600/Kuitca.jpg" height="400" width="395" /></span></a></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;">Guillermo Kuitca Nocturnes (Corporate Workstations), 2002</span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><br /></span></div>
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<a href="http://3.bp.blogspot.com/-Ewfj7BPs4Uc/VQ8GwLQoN8I/AAAAAAAAEN8/D9G-S3zbwb0/s1600/Joel%2BShapiro%2BUntitled%2C%2B1979.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><img border="0" src="http://3.bp.blogspot.com/-Ewfj7BPs4Uc/VQ8GwLQoN8I/AAAAAAAAEN8/D9G-S3zbwb0/s1600/Joel%2BShapiro%2BUntitled%2C%2B1979.jpg" height="247" width="400" /></span></a></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;">Joel Shapiro Untitled, 1979</span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-86ueygv95vo/VQ8GvsAnmtI/AAAAAAAAENo/hA1hkUIU6dw/s1600/Joel%2BShapiro%2BUntitled%2C%2B1990%2BAquatint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><img border="0" src="http://4.bp.blogspot.com/-86ueygv95vo/VQ8GvsAnmtI/AAAAAAAAENo/hA1hkUIU6dw/s1600/Joel%2BShapiro%2BUntitled%2C%2B1990%2BAquatint.jpg" height="400" width="293" /></span></a></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;">Joel Shapiro Untitled, 1990 Aquatint</span></div>
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<div class="MsoBodyText2" style="margin-left: 36.0pt; mso-hyphenate: auto; tab-stops: 35.4pt;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoBodyText2" style="margin-left: 36.0pt; mso-hyphenate: auto; tab-stops: 35.4pt;">
<span style="font-family: Courier New, Courier, monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; letter-spacing: 0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Times;"><br /></span></b>
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; letter-spacing: 0pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Times;">Problema proyectual:<o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">El
dibujo procesual: intersecciones entre materia/forma y acabado/significado. <o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="margin-left: 35.4pt; text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Realización de un proyecto propio a partir del estudio de la
obra de </span><span class="longtext"><span lang="ES-TRAD" style="background: white; font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Guillermo Kuitca y Joel Shapiro</span></span><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";"> en el que esté racionalmente enlazada y plenamente
justificada su exposición en una de las galerías de arte de Madrid, a elegir
por el alumno.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Ejercicios
obligatorios a realizar por el alumno:</span></b><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">1 carpeta tamaño 50 x 70 con un mínimo de 3 dibujos
realizados con la técnica resultante del estudio de los procesos de trabajo de
cada artista propuesto.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt; text-align: justify; text-indent: .6pt;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">- Una obra tamaño mínimo de 150 x 150 cm. basada en el
trabajo de Guillermo Kuitca. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">- Una obra tamaño mínimo de 150 x 150 cm. basada en el
trabajo de </span><span class="longtext"><span lang="ES-TRAD" style="background: white; font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Joel Shapiro</span></span><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">.
<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Como ya sabemos pueden estar compuestas por varias hojas pequeñas.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt; text-align: justify; text-indent: 35.4pt;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">1 pieza tridimensional a escala aprox. en
cartulina, cartón, papel maché, plastilina de escultor, cera, madera, metal,
plástico, etc. que sea capaz de aproximar desde las tres dimensiones la
intervención en el lugar. Es importante elegir el papel que la pieza ha de
cumplir: <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: Courier New, Courier, monospace;"><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">a-<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]--><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Es una representación
tridimensional de lo explicado en los dibujos, <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: Courier New, Courier, monospace;"><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">b-<span style="font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]--><span lang="ES-TRAD" style="font-family: Arial; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Tiene un carácter de
representación simbólica por lo cual aunque no se parezca al proyecto dibujado,
lo complementa y amplia en sus significados.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">A partir de este material confeccionar un catálogo del
proyecto <u>Formato PDF </u>con un mínimo de 12 hojas DIN A-4 Una portada, un
índice, una memoria justificativa, 8 hojas con un dibujo (en cada hoja) al
mayor tamaño posible, con su descripción técnica y todo el material que el
estudiante crea conveniente para que sea entendido su proceso de proyecto.
(fotos de la maqueta,<span style="mso-spacerun: yes;"> </span>bocetos, etc.)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 35.4pt;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Calendario:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 35.4pt;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Día <b style="mso-bidi-font-weight: normal;">23/03/15</b> <span style="mso-spacerun: yes;"> </span>Introducción al tema por parte del profesor.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; text-align: justify;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt; text-align: justify;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Día <b style="mso-bidi-font-weight: normal;">27/04/15</b>:
Entrega en la fecha prevista de una carpeta DIN A-3, con todo el material
proyectual utilizado que el estudiante crea conveniente para que sea entendido
su proceso de trabajo y la memoria del proyecto.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 35.4pt;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";">Exhibición final del obra y sesión de exposición crítica en
el aula.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt; text-align: justify;">
<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";"><span style="font-family: Courier New, Courier, monospace;">Será imprescindible haber tenido 1 tutoría como mínimo antes
de la entrega del ejercicio.</span><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
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Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-50598501581246102262015-02-09T10:16:00.000+01:002015-02-09T12:47:52.068+01:00Unidad de Estudio 1 Producción<!--[if !mso]>
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<span style="font-family: "Courier New"; mso-bidi-font-size: 11.0pt;">Producción Artística Dibujo. Grupo 1 <o:p></o:p></span></div>
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<span style="font-family: "Courier New";">Unidad de estudio </span><span style="font-family: "Courier New"; mso-bidi-font-size: 14.0pt;">1</span><span style="font-family: "Courier New";"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Courier New"; font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">Realidad
e ilusión: </span><span class="longtext"><span style="background: white; font-family: "Courier New";">Michaël Borremans</span></span><span style="font-family: "Courier New"; font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">.</span></div>
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<span style="font-family: 'Courier New'; text-indent: 35.4pt;">Facultad de BBAA.
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<span style="font-family: 'Courier New';">Curso:</span><span style="font-family: "Courier New"; mso-bidi-font-size: 11.0pt;"> </span><span style="font-family: 'Courier New';">2014-15</span><span style="font-family: "Courier New"; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></div>
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<a href="http://2.bp.blogspot.com/-8ta_09HbdQA/VNiXXsL8WnI/AAAAAAAAEJU/mgHB0mf8p9c/s1600/Borremans_Pa%CC%81gina_01.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace;"><img border="0" src="http://2.bp.blogspot.com/-8ta_09HbdQA/VNiXXsL8WnI/AAAAAAAAEJU/mgHB0mf8p9c/s1600/Borremans_Pa%CC%81gina_01.png" height="640" width="572" /></span></a></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><a href="https://www.dropbox.com/s/5g0acfwhbiam3zq/Borremans%20Drawings%20small.pdf?dl=0">Catálogo PDF Michaël Borremans</a></span><br />
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<span style="font-family: Courier New, Courier, monospace;"> <span style="font-size: x-small;"> <a href="https://drive.google.com/open?id=0Bwr3vbqMofQsdE9ISDJteEs0M2c&authuser=0">Link a Unidad de estudio 1 en Drive </a></span></span></div>
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<span lang="ES-TRAD" style="font-family: Courier New, Courier, monospace; font-size: x-small; mso-bidi-font-family: "Times New Roman";"> <a href="http://www.zeno-x.com/artists/michael_borremans.htm">http://www.zeno-x.com/artists/michael_borremans.htm</a></span></div>
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<li class="MsoNormal" style="mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-family: "Courier New";">Introducción al problema.</span></li>
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<span style="font-family: "Courier New"; font-size: 10.0pt;">WHISTLING A
HAPPY TUNE</span><span style="font-family: "Courier New"; font-size: 10.0pt; mso-bidi-font-size: 11.0pt;"> (<span style="font-family: Courier New, Courier, monospace;">2008) es el título de una publicación que recoge
la última obra dibujada de</span> </span><span class="longtext"><span style="background: white; font-family: "Courier New"; font-size: 10.0pt;">Michaël Borremans (1963,
Geraardsbergen). Como podemos comprobar por el título no vamos a sacar una
información clara sobre los contenidos temáticos o sobre las técnicas empleadas
por el autor. Sin embargo, es fiel a las tácticas<span style="mso-spacerun: yes;"> </span>de aproximación a lo real de Borremans, es
tan ambiguo como lo que nos espera en cada una de sus dibujos, sólo al final
del recorrido, comprobamos que efectivamente este título se corresponde con la ironía
que subyace a ese “mundo feliz” representado por las realidades ilusorias<span style="mso-spacerun: yes;"> </span>de su obra.</span></span><span style="font-family: "Courier New"; font-size: 16.0pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></div>
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<span class="longtext"><span style="background: white; font-family: "Courier New"; font-size: 10.0pt;">Como primera aproximación podemos
afirmar que los<span style="mso-spacerun: yes;"> </span>dibujos de Borremans
reflejan la cultura de masas contemporánea. Parece que sus pequeños dibujos tratan
de enfrentar al espectador cara-a-cara con las "ilusiones históricas"
que subyacen en la sociedad actual, aludiendo al engaño y la indiferencia del
mundo que nos rodea. </span></span><span style="background: white; font-family: "Courier New"; font-size: 10.0pt;"><br />
<span class="longtext">Su trabajo se relaciona por tanto, con las ilusiones que
percibe a su alrededor, las ilusiones acerca de las opciones políticas, la libertad
personal y la capacidad del individuo para actuar en este mundo complejo. </span></span><span class="longtext"><span style="font-family: "Courier New"; font-size: 10.0pt;">Para
ello, imprime a sus dibujos de una estética seductora y un cierto grado de
provocación con el fin de comunicar mejor esta sensación de ilusión al
espectador y con la mayor claridad posible, si es que “claridad” es un término
lo suficientemente claro, pues en la obra de Borremans hasta lo más evidente
deja de serlo. </span></span><span style="font-family: "Courier New"; font-size: 10.0pt;"><br />
<br />
<span class="longtext">Las referencias explícitas a la historia del arte y las
tradiciones culturales juegan un papel muy importante en esto. Sus dibujos
incluyen una variedad de géneros como el retrato, el busto escultórico, la máscara
de la muerte y el monumento, <span style="background: white;">refiriéndose también,
a aquellos lugares donde se muestran las obras de arte, como el estudio, el
museo o el espacio público.</span>, Reflexiona también sobre las diferentes
formas de “puesta en escena” que fueron desarrollados en el curso de la
historia del arte reciente: el diorama en el siglo XIX, la fotografía antes de
la era digital, y las proyecciones de vídeo de gran tamaño que uno encuentra en
la actualidad. <o:p></o:p></span></span></div>
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<span class="longtext"><span style="font-family: "Courier New"; font-size: 10.0pt;">La cuestión de la realidad y la ilusión subyace en
las temáticas empleadas por Borremans, como ya hemos indicado, manifestando su
carácter más ambiguo e inconsistente a través de sus dibujos. Una y otra vez se
preocupa de la distancia entre lo que llamamos la realidad -lo que está ahí
afuera- y la ficción o la narración imaginaria de la que se ocupa el arte. </span></span><span style="background: white; font-family: "Courier New"; font-size: 10.0pt;"><br />
</span><span class="longtext"><span style="font-family: "Courier New"; font-size: 10.0pt;">Esta
relación entre lo real y lo imaginario se expresa también en la propia
percepción que Borremans tiene de sus dibujos, <span style="background: white;">tratándolos
como una especie de propuesta de intervenciones o de instalaciones en el
espacio público. <o:p></o:p></span></span></span></div>
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<span class="longtext"><span style="font-family: "Courier New"; font-size: 10.0pt;">Sin embargo, la ejecución de estos elaborados
estudios preliminares, nunca alcanzarán la fase de inserción en la realidad.
Dado que invariablemente las intervenciones públicas las ve como "actos de
agresión" y prefiere ajustarse al "límite" que impone la
ejecución de un modelo dibujado. El trabajo con esta táctica de realizar
dibujos como proyectos latentes, permite a Borremans, proteger la muy delgada
línea entre la realidad y la ficción tan característica de su obra y</span></span><span style="font-family: "Courier New"; font-size: 10.0pt;"> <span class="longtext">para
conseguirlo el tiempo y la historia desempeñan un papel crucial. <o:p></o:p></span></span></div>
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<span class="longtext"><span style="font-family: "Courier New"; font-size: 10.0pt;">Borremans hace un uso regular de las primeras
fuentes de las imágenes en la que basar sus dibujos. <span style="background: white;">En la mayoría de los casos son fotografías del siglo XIX, revistas y
libros ilustrados de los años treinta a los años cincuenta, y las fuentes más
recientes, tales como películas, telenovelas y series de televisión, que
encuentra ya sea en su forma original o en Internet. </span>Otra fuente fértil
es su fascinación por el kitsch, caracterizado por las figuras de porcelana que
adornan las ventanas de muchas casas de Flandes.</span></span><span style="font-family: "Courier New"; font-size: 10.0pt;"> <span class="longtext">Borremans
utiliza imágenes que están disponibles en cantidades masivas, en busca de sus
propios temas, -puede por ejemplo mostrar la ropa y la peluquería de moda de
otra época, lo que hace que el trabajo aparezca de una manera retrospectiva- y
trata de cerrar la brecha entre la conciencia de un pasado histórico, una
tradición cultural y los problemas de la actualidad. </span><br style="mso-special-character: line-break;" />
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<span class="longtext"><span style="font-family: "Courier New"; font-size: 10.0pt;">En cuanto a la forma y el estilo, los dibujos de
Borremans evolucionan muy lentamente, mostrando la influencia de su formación
en el grabado, técnica que exige desarrollos largos en el tiempo de ejecución. <span style="background: white;">Cada dibujo es meticulosamente compuesto, y el artista
vuelve una y otra vez sobre el papel, a fin de continuar la corrección y
profundización capa por capa. </span>Este trabajo cauteloso, revela la afinidad
de Borremans con la tradición del norte de Europa, de la pintura en miniatura y
los dibujos de los viejos maestros. En cuanto al contenido subyacente de estas
opciones formales, también muestra raíces en la tradición de la pintura belga.
Al igual que el trabajo de sus compatriotas, James Ensor, Félicien Rops, René
Magritte y Thierry de Cordier, la mano de Borremans revela la tendencia
surrealista para evitar asociaciones lógicas. </span></span><span style="font-family: "Courier New"; font-size: 10.0pt;"><br />
<br />
<span class="longtext">El uso de los materiales confiere a sus dibujos un aspecto
intuitivo, semiacabado y proyectual, que los hace muy sugerentes. <span style="background: white;">Se utiliza casi cualquier tipo de material como apoyo
para su trabajo, </span>sobres abiertos desgarrados (con sellos de correos aún
adherida), tapas arrancadas de libros, viejas fotos, páginas de calendarios,
restos de imágenes, etc. Cada soporte tiene su propia historia que es revelada
por las huellas externas del mismo y que el artista al incorporarlas al dibujo
las pone en evidencia y son magnificadas. La elección de este tipo de
materiales hace hincapié en el hecho de que las obras no han crecido de la
nada, y que no pueden ser plenamente comprendidas únicamente sobre la base de
lo que en ellas hay dibujado. </span><br />
<span class="longtext"><span style="background: white;">La edad y la estética de
las fuentes de imágenes también parecen ser transferidos a sus dibujos por
medio de los colores.</span></span> <span class="longtext">Sus matices típicos
"antiguos" de tonos marrón y gris son adecuados para dotar de una
pátina que siempre es inherente al material utilizado para el soporte. <span style="background: white;">Con la excepción de gouache y pintura de aceite (a la
que siempre añade una pátina), Borremans generalmente dibuja con lápiz,
acuarela y tinta blanca, siendo </span>un número muy pequeño los dibujos realizados
sólo con lápiz. <o:p></o:p></span></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=1657938328730100395" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=1657938328730100395" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=1657938328730100395" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=1657938328730100395" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>
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<span class="longtext"><span style="background: white; font-family: "Courier New"; font-size: 10.0pt;">Termino con un reflexión final que
me parece que a todos nosotros como artistas nos conviene tener presente en
nuestro trabajo diario.<span style="mso-spacerun: yes;"> </span>A primera vista
los pequeños dibujos de Borremans parecen simples, convincentes y realistas. </span></span><span class="longtext"><span style="font-family: "Courier New"; font-size: 10.0pt;">Nada
podría ser menos cierto. Debajo de estas imágenes aparentemente claras, se
encuentra contenido un mundo que se manifiesta impresionante, confuso y extraño,
provocando una sensación de perplejidad y ambigüedad en el espectador, que paradójicamente
hace aumentar su confusión cuanto más detenidamente mira estos dibujos. <o:p></o:p></span></span></div>
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.blogger.com/blogger.g?blogID=1657938328730100395" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=1657938328730100395" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=1657938328730100395" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=1657938328730100395" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="http://4.bp.blogspot.com/-b--CshE77x4/VNiYFxR0tDI/AAAAAAAAEJc/Sfzt1JlkZjs/s1600/IMG_2721.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><img border="0" src="http://4.bp.blogspot.com/-b--CshE77x4/VNiYFxR0tDI/AAAAAAAAEJc/Sfzt1JlkZjs/s1600/IMG_2721.JPG" height="640" width="480" /></span></a></div>
<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><br /></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 71.4pt; text-align: justify;">
<span style="font-family: Courier New, Courier, monospace; font-size: x-small;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Courier New"; mso-bidi-font-size: 11.0pt;">2. Ejercicios a realizar:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoBodyText2" style="margin-left: 36.0pt; mso-hyphenate: auto; tab-stops: 35.4pt;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New"; font-size: 11.0pt; letter-spacing: 0pt; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Times;">Problema proyectual:<o:p></o:p></span></b></div>
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<span style="font-family: 'Courier New'; font-size: 11pt;">El dibujo narrativo:
intersecciones entre realidad y ficción. <i style="font-weight: bold;"><o:p></o:p></i></span></div>
<div class="MsoBodyText2" style="margin-left: 36.0pt; mso-hyphenate: auto; tab-stops: 35.4pt;">
<span style="font-family: "Courier New"; font-size: 11.0pt; letter-spacing: 0pt; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Times;">Realización de un proyecto
propio a partir del estudio de la obra de </span><span class="longtext"><span lang="ES" style="background: white; font-family: "Courier New"; font-size: 11.0pt; mso-bidi-font-size: 10.0pt;">Michaël Borremans</span></span><span style="font-family: "Courier New"; font-size: 11.0pt; letter-spacing: 0pt; mso-ansi-language: ES-TRAD; mso-fareast-font-family: Times;">, en el que esté racionalmente enlazada y plenamente
justificada su exposición en una de las galerías de arte de Madrid, a elegir
por el alumno.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New"; font-size: 11.0pt;">Ejercicios obligatorios a realizar por el alumno:</span></b><span style="font-family: "Courier New"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "Courier New"; font-size: 11.0pt;">-<span style="mso-tab-count: 1;"> </span>1 carpeta tamaño Din A-3 con 16 dibujos distribuidos en cuatro
bloques temáticos (4 dibujos por bloque) realizados en soportes reciclados
(tapas de libros, hojas antiguas, cartas, anuarios, etc.) y tamaños diversos utilizando
en definitiva la variedad de soportes que utiliza Borremans. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">La propuesta ficcional
estará basada en los siguientes bloques temáticos y la propuesta visual
responderá a las estrategias irónicas y metafóricas utilizadas por Borremans en
sus diferentes series gráficas, por lo que es muy importante entresacar y
trabajar con los conceptos utilizados por él, intentando adaptarlos a los
propios problemas que el alumno decida plantear.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Bloque 1- Espacios
institucionales <span style="mso-spacerun: yes;"> </span>o de representación del
Poder: Congreso, Senado, Palacio de Oriente, Ayuntamiento, etc.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Bloque 2- Espacios de la
Cultura: Museos, Teatros, Universidades, etc.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Bloque 3- Espacios de
tránsito:<span style="mso-spacerun: yes;"> </span>Estaciones de transporte:
Atocha, Aeropuerto, Metro. Lugares de Ocio: Grandes superficies comerciales,
estadios e instalaciones deportivas, etc.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Bloque 4- Espacios del
habitar: Áreas residenciales, barrios, plazas, avenidas, bloques, pisos,
apartamentos, cementerios, etc.<o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<span style="font-family: "Courier New"; font-size: 11.0pt;">1 pieza tridimensional
a escala aprox. en cartulina, cartón, papel maché, plastilina de escultor,
cera, madera, metal, plástico, etc. que sea capaz de aproximar desde las tres
dimensiones la intervención en el lugar. Es importante elegir el papel que la
pieza ha de cumplir: <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: "Courier New"; font-size: 11.0pt; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">a-<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Courier New"; font-size: 11.0pt;">Es una representación
tridimensional de lo explicado en los dibujos. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: "Courier New"; font-size: 11.0pt; mso-fareast-font-family: "Courier New";"><span style="mso-list: Ignore;">b-<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Courier New"; font-size: 11.0pt;">Tiene un carácter de
representación simbólica por lo cual aunque no se parezca al proyecto dibujado,
lo complementa y amplia en sus significados.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">A partir de este material
confeccionar un catálogo del proyecto <u>Formato PDF </u>con un mínimo de 25
hojas DIN A-4. Una portada, un índice, una memoria justificativa, 16 hojas con
un dibujo (en cada hoja) al mayor tamaño posible, con su descripción técnica y todo
el material que el estudiante crea conveniente para que sea entendido su
proceso de proyecto. (fotos de los lugares en los que se ha basado, fotos de la
maqueta,<span style="mso-spacerun: yes;"> </span>bocetos, etc.)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.4pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 35.4pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Técnica. Las utilizadas por
Borremans en sus trabajos gráficos. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Courier New"; font-size: 11.0pt;">Calendario:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: 54.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Día <b style="mso-bidi-font-weight: normal;">09/02/15</b> <span style="mso-spacerun: yes;"> </span>Clase de
introducción teórica al tema por parte del profesor.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 54.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Día <b style="mso-bidi-font-weight: normal;">10/03/15</b>: Entrega en la fecha prevista de una CD, con todo el
material proyectual utilizado que el estudiante crea conveniente para que sea
entendido su proceso de trabajo, las 16 imágenes fotografiadas y la memoria del
proyecto en PDF.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Exhibición final de la obra
y sesión de exposición crítica en el aula.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; text-align: justify;">
<span style="font-family: "Courier New"; font-size: 11.0pt;">Será imprescindible haber
tenido 2 tutorías como mínimo antes de la entrega del ejercicio.<o:p></o:p></span></div>
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Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-53468260997644153392014-12-14T21:10:00.000+01:002014-12-15T19:37:57.525+01:00MARK POWELL y WONIL SUH<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><a href="https://drive.google.com/file/d/0Bwr3vbqMofQsdThLQVFXeWgteFU/view?usp=sharing">Unidad de Estudio 3</a> </span></div>
<span style="font-family: Courier New, Courier, monospace;"><br /></span>
<span style="font-family: Courier New, Courier, monospace;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-R1EqI-d2qxA/VI3qdue_KDI/AAAAAAAAEBg/dm5UT0zCAdA/s1600/Mark%2BPowell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-R1EqI-d2qxA/VI3qdue_KDI/AAAAAAAAEBg/dm5UT0zCAdA/s1600/Mark%2BPowell.jpg" height="640" width="417" /></a></div>
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace; font-size: x-small;">Mark Powell, Bic biro on 1894 envelope</span>
</div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">Introducción al problema:<o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">Georges Bataille defiende el comienzo
del arte moderno con Manet argumentando que los sujetos representados desafían por
primera vez los contextos tradicionales.<o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">Las obras <i>Le Dejeuner sur l’herbe</i> y
<i>Olympia</i> de Manet marcan el comienzo de una nueva relación entre el espectador
tradicional, acostumbrado a considerar el desnudo femenino portador de belleza
ideal, como en las venus y las “madonnas”, y la realidad contemporánea, en la
que el cuerpo femenino es una mercancía. Hubo cierta transición, constituida
por los pintores orientalistas y sus representaciones de esclavas y harenes,
culminando en <i>La Grande Odalisque</i> de Ingres (1814). Pero no es hasta 1863, año
en el que Manet presenta su obra <i>Olympia</i>, cuando realmente comienza esa
transmutación de significados en el cuerpo femenino. El cuadro causó escándalo,
no por el desnudo en sí, sino por mostrar la elegante artificialidad de una prostituta
con su mirada directa al espectador, dignificando su condición de clase
inferior, con el distante desdén que le da la belleza de su cuerpo como
producto caro y valioso.<o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">Hay que resaltar que en esa época, la
fotografía marchaba por detrás de las estrategias innovadoras que se producían
en pintura; ejemplo de ello es la fotografía pictorialista y su apropiación de
los modelos tradicionales pictóricos de las “madonnas” y venus, como en la obra
de Oscar Rejlander, After Raphael sistine madonna (1857) y la de Julia M.
Cameron, Divine Love (1865).<o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">Paradójicamente, estas estrategias de apropiación
de los gestos de los modelos pictóricos, son utilizadas por artistas contemporáneos
como Cindy Sherman en la serie fotográfica Historia de la pintura, en obras
como Lakshimi (1992) de Dany Leriche y en perfomances como la parodia sobre la
Olympia de Manet, de C. Schneemann y R. Morris.<o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">Douglas Huebler, en los años setenta,
tiene una interesante obra en torno a la conjunción entre el rostro
fotografiado y el lenguaje que es capaz de expresarlo. Su <i>Variable Piece #101,
West Germany</i> (1973) está formada por diez fotografías en b/n del rostro de su
amigo, el artista Bernd Becher. Cada retrato adopta una “pose” que intenta
reflejar la cara de una serie de “tipos humanos”. Huebler describe el proyecto:
“En diciembre de 1972 hice una secuencia de fotografías a Bernd en el momento
en que consiguiera la mejor cara de un cura, un criminal, un amante, un viejo,
un policía, un artista, la propia cara de “Bernd Becher”, un filósofo, un
espía, un tipo simpático… en este orden.<o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">Dos meses después le mandé las
fotografías a Bernd, para evitar que las recordara, las numeré de forma
diferente a la secuencia en que se hicieron y Becher respondió que eran
correctas las asociaciones visuales con los términos verbales."<o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace; font-size: x-small;">Douglas Huebler, Variable Piece # 101 , 1972.</span></span></div>
<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">El trabajo de Huebler intenta
ejemplificar cómo imbricar el lenguaje al mismo tiempo que las imágenes
fotográficas. En este proyecto, diez expresiones faciales diferentes de Bernd
Becher han sido arbitrariamente correspondidas con diez palabras que denotan
profesiones o tipos sociales. A la vez, la pieza en su conjunto tiene que ver
con la manera en la que el lenguaje acuerda el significado con el hecho visual.
El trabajo, en este caso, pretende ser una demostración de la superioridad del
lenguaje para hacer prevalecer opiniones estereotipadas: “Estoy hablando acerca
de la irresponsabilidad del lenguaje”. Huebler argumentaba que su interés
primario, “es liberar la naturaleza de la imposición del lenguaje, la mitología
y la literatura.”</span><span style="font-family: Arial;"><o:p></o:p></span></span><br />
<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span>
<br />
<div style="text-align: center;">
<span style="font-family: Courier New, Courier, monospace;">Trabajo gráfico de Mark Powell:</span></div>
</div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">Para el estudio de más obras, ver la página de flickr de Mark Powell:</span></span></div>
<a href="https://www.flickr.com/photos/markpowellart/">https://www.flickr.com/photos/markpowellart/</a><br />
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<span style="font-family: Courier New, Courier, monospace;">Trabajo gráfico de Wonil Suh:</span><br />
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Wonil Suh<o:p></o:p></div>
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<a href="https://www.flickr.com/photos/wonil/sets/">https://www.flickr.com/photos/wonil/sets/</a><o:p></o:p></div>
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Estudio de sus Álbunes: <o:p></o:p></div>
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The presence underneath <o:p></o:p></div>
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Structures series<o:p></o:p></div>
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What we are<o:p></o:p></div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com1tag:blogger.com,1999:blog-1657938328730100395.post-38540019399629219072014-10-05T21:02:00.001+02:002014-10-09T12:02:01.441+02:00a dibujar se aprende dibujando...<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Courier New, Courier, monospace;">Problemas de líneas y tono</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Recomiendo una visita a la página que tengo en <a href="http://www.pinterest.com/antoniorabazas/gr%C3%A1ficas-contempor%C3%A1neas/">Pinterest Gráficas Contemporáneas</a>, he subido bastantes ejemplos de trabajos muy interesantes realizados en diferentes técnicas. Creo que son una muestra de la inmensa variedad de posibilidades que tenemos a nuestra disposición para estudiar y trabajar en torno a las líneas que más interés susciten según nuestros intereses...</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Anders Zorn</span></div>
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<a href="http://3.bp.blogspot.com/-KS_PvjS6aCI/VDGUsqmGspI/AAAAAAAADxA/aHqUewDZzXg/s1600/Anders%2BZorn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-KS_PvjS6aCI/VDGUsqmGspI/AAAAAAAADxA/aHqUewDZzXg/s1600/Anders%2BZorn.jpg" height="640" width="412" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Rembrandt van Rijn</span></div>
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<a href="http://3.bp.blogspot.com/-_csaahuodSQ/VDGU4JTwomI/AAAAAAAADxY/roKTW6W5TBs/s1600/Rembrandt%2C%2BSelf%2BPortrait%2C%2BWide%2BEyed%2C%2B1630..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-_csaahuodSQ/VDGU4JTwomI/AAAAAAAADxY/roKTW6W5TBs/s1600/Rembrandt%2C%2BSelf%2BPortrait%2C%2BWide%2BEyed%2C%2B1630..jpg" height="640" width="576" /></a></div>
<br />Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-49771111338044147882014-04-24T19:56:00.001+02:002014-04-30T18:44:08.732+02:00“Hace ya mucho tiempo, como unos dos mil años…”, <span style="font-family: Courier New, Courier, monospace;">Un fino hilo une a los Hermanos Grimm con <a href="http://www.pajarocontemplativo.com/"><b>Alejandra Acosta</b></a>, Isidro Ferrer o Max Ernst... </span><br />
<span style="font-family: Courier New, Courier, monospace;"><b><span style="color: #351c75;"><a href="http://nalocos.blogspot.com.es/2012/06/del-enebro-y-los-hermanos-grimm.html">Fernando Valls</a></span></b> hizo una reseña de un libro titulado "Del Enebro" editado por la editorial Jekyll & Jill, de Zaragoza, que me llevó a descubrir el mundo fantástico y delicado de las ilustraciones y <i>collages</i> de Alejandra Acosta. Me dejé llevar por la trama fantástica del cuento que tan certeramente resume y por la destreza gráfica de Alejandra... os dejo aquí la poética reseña de Ainize Salaberri en Granite & Rainbow, el texto de Valls, un texto de otro grande de la ilustración Isidro Ferrer a propósito de esta obra, y links a <a href="http://boek861.blog.com.es/2011/09/18/alejandra-acosta-collages-11867923/"><b>otros trabajos de Alejandra Acosta</b></a></span><br />
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #272727;"><span style="font-family: Courier New, Courier, monospace;"><a href="http://www.graniteandrainbow.com/?p=362"><b>Ainize Salaberri</b></a> comienza su reseña del texto de una forma imposible de abandonar:</span></span></div>
<div class="MsoNormal">
<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #272727;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #272727;"><span style="font-family: Courier New, Courier, monospace;">En algún lugar del mundo, hay una casa hecha de calaveras. En
el mismo lugar, en el fin del mundo quizás, hay un enebro cuyo fruto son huesos
convertidos en dulces. Ese enebro, oloroso, <b>tétrico</b>, se sostiene
con una historia macabra. El hedor es la <b>sangre</b>, es la rabia, es el
dolor. El enebro es sombrío, sí, pero contiene una luz que, a quien mire,
dejará ciego. Quizás sea la parte del mundo en la que siempre es Halloween, la
misma en la que los muertos son los vivos en realidad. <b>Huesos</b>.
Quién sabe. Podría ser que este lugar se llamase Transilvania. Pudiese, acaso,
llamarse Poe. <b>Cacerola</b>. Es hermano gemelo de Ambrose Bierce, y
tiene un toque de Stephen Crane. Tiene algo de Daphne du Maurier, también. <b>Rima,
canción.</b></span></span><span style="font-family: Times;"><o:p></o:p></span></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #272727;"><span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-k1x_SWSRGnU/U1kvYBJNT3I/AAAAAAAADLA/x5phFHRjH5o/s1600/sobrecubiertadelenebro.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace;"><img border="0" src="http://1.bp.blogspot.com/-k1x_SWSRGnU/U1kvYBJNT3I/AAAAAAAADLA/x5phFHRjH5o/s1600/sobrecubiertadelenebro.jpg" height="640" width="552" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Courier New, Courier, monospace;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-7DDGPNYUBp4/U1kwG3nlBEI/AAAAAAAADLQ/T0H3hJ2qdLY/s1600/150411_307659772648019_241332365_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace;"><img border="0" src="http://4.bp.blogspot.com/-7DDGPNYUBp4/U1kwG3nlBEI/AAAAAAAADLQ/T0H3hJ2qdLY/s1600/150411_307659772648019_241332365_n.jpg" height="304" width="640" /></span></a></div>
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<span style="color: #272727;"><span style="font-family: Courier New, Courier, monospace;">Son los Grimm, Jacob y Wilhelm, esos hermanos traviesos e
imaginativos que escribieron “Del enebro” como, me supongo, si les llevasen los
demonios. <b>Raíces</b>. Es un libro que ha de leerse de noche, a la luz
de un débil candil, con las ventanas abiertas. Pisos altos, mejor, nada de
cabañas en medio del bosque. Debe leerse en un silencio sepulcral, en respeto a
esas calaveras que convertirán ese insulso camino de piedras amarillas en una
niñatada sin futuro. Debe leerse a un niño pequeño bajo una manta o una sábana.
Debe leerse con los dientes sucios, después del chocolate, o podridos. Debe
leerse junto a una leche agria y pasada en la mesilla de noche. Y, al contrario
de lo que pudiese parecer, la oscuridad no será enemiga sino aliada. El
verdadero terror se encuentra en el interior: un pájaro, una madrastra, un niño
tan blanco como la nieve y tan rojo como la sangre. Este libro contiene <b>vísceras</b>,
y amenaza con contener <b>entrañas</b> extrañas: las del lector. <i>Beware</i>!<o:p></o:p></span></span></div>
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<span style="color: #272727;"><span style="font-family: Courier New, Courier, monospace;">Mundo oscuro, cruel y sombrío; malvado territorio habitado por
personas, niños, niñas, condenados a la sangre, al desabotonarse la vida de la
manera más trágica posible. Sin censura. Un mundo en blanco y negro, en blanco,
negro y rojo, en realidad. Una historia que versa sobre el poder <b>aniquilador</b> y
perturbador que anhida, cual <b>pájaro</b> en el enebro, en manos de
avariciosos, envidiosos, malnacidos. “Del enebro” es la historia que debía, y
debe, hacer temblar a los niños; con la presentación y la moraleja, elemento
típicos de los cuentos y fábulas, no era apto para los infantes; el folclore
alemán, recogido en el libro que contenía, precisamente, este relato
sanguinario y brutal, escandalizaba. Esta versión, publicada por <a href="http://jekyllandjill.blogspot.com.es/"><span style="border: none windowtext 1.0pt; color: black; mso-border-alt: none windowtext 0cm; padding: 0cm; text-decoration: none; text-underline: none;">Jekyll & Jill</span></a>, es la
verdadera historia que los Grimm escribieron. Los editores <i>“</i>han
pretendido una vuelta al cuento original, en su forma y en su sentido. Y esta
no es una adaptación suavizada del relato, apta para todos las sensibilidades
sino el cuento crudo y sanguinario que una vez entretuviera a unos y
escandalizara a otros<i>”</i>.<o:p></o:p></span></span></div>
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<span style="color: #272727;"><span style="font-family: Courier New, Courier, monospace;">Las ilustraciones de <a href="http://www.pajarocontemplativo.com/"><span style="border: none windowtext 1.0pt; color: black; mso-border-alt: none windowtext 0cm; padding: 0cm; text-decoration: none; text-underline: none;"><b>Alejandra Acosta</b></span></a>, además,
al más puro estilo de los grabados antiguos, son tan espectaculares que, por sí
misma, podría contar la historia sin necesidad de letras. Capta a la perfección,
como pocos ilustradores saben hacer, todlo mágico y macabro de una historia
morbosa, brutal e increíble. El canibalismo, el parricidio, el misterio y el
sadismo, amén de cientos de adjetivos lúgubres y tétricos más que no soy capaz
de reproducir, quedan perfectamente delineados en las creaciones de <a href="http://www.aleacosta.cl/"><span style="border: none windowtext 1.0pt; color: black; mso-border-alt: none windowtext 0cm; padding: 0cm; text-decoration: none; text-underline: none;">Alejandra</span></a>. Los hermanos Grimm pueden levantarse de sus tumbas
bien a gusto y pasear, bastón en mano, esqueléticos y sonrientes, bombín en la
cabeza, por entre las páginas de un libro que, desde luego, merece todo halago
y todo premio existente.</span><span style="font-family: Arial;"><o:p></o:p></span></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span lang="ES" style="color: black;">Si los Grimm solo hubieran escrito
un cuento, el titulado “Del enebro”, también formarían parte de la historia
literaria. Ahora se cumplen doscientos de la publicación de sus <i>Cuentos
para la infancia y el hogar</i> (1812), donde aparece recogido junto a
“Hansel y Gretel”, “Caperucita roja”, “La bella durmiente” o “Pulgarcito”, por
lo que la editorial Jekyll & Jill, de Zaragoza, lo ha celebrado con una
hermosa edición bilingüe del relato, traducido por Jessica Aliaga Lavrijsen.
Pocos libros he visto tratados con más amor y cuidado, pues tanto las
ilustraciones como el prólogo del escritor Francisco Ferrer Lerín hacen suyo el
texto, enriqueciéndolo desde su propio estilo y personalidad artística. Pero la
exquisitez de la edición puede apreciarse en la belleza de sus detalles: así en
la cuidada traducción del bajo alemán (<i>Plattdeutsch</i>) o en los múltiples
rasgos presentes de la lengua oral en el texto, pero que fueron perdiéndose en
sucesivas reediciones, a veces edulcoradas; la traducción, en el prólogo, de
unos versos del <i>Spill</i> o <i>Llibre de les dones</i>,
novela de finales de comienzos del XV, de Jaume Roig, encargada ex profeso al
poeta y ensayista Antoni Marí; la sutileza y elegancia de las ilustraciones de
la chilena Alejandra Acosta que juega con el blanco, el negro y el rojo, en
unos dibujos y <i>collages</i> que nos proporcionan una lectura paralela y
complementaria del texto; el punto de libro y la exquisita sorpresa final...</span><span style="color: black;"><o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Courier New, Courier, monospace;"><span lang="ES" style="color: black;">Pero siendo todo ello extraordinario, de
apenas nada valdría si no estuviera al servicio de un cuento que se sigue
leyendo hoy como si se tratara de nuestro contemporáneo, cosa que desde
luego es. “Hace ya mucho tiempo, como unos dos mil años…”, comienza diciendo el
relato. Lo que se narra es la historia de una mujer que no conseguía tener el
hijo que tanto deseaba. Un día, mientras bordaba se pinchó un dedo, cayeron
unas gotas de sangre en la nieve, y tuvo el presentimiento de que se había
quedado embarazada. La madre moriría al dar a luz a un niño blanco como la
nieve y colorado como la sangre.</span><span style="color: black;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: 'Courier New', Courier, monospace;"><br /></span></div>
<div class="MsoNormal" style="background: white; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: 'Courier New', Courier, monospace;">El marido decide enterrarla bajo el enebro
que hay frente a su casa y tiempo después se casa con otra mujer, con la que
tiene una hija. La madrastra está tan obsesionada por defender los intereses de
su descendiente que terminará por decapitar a su hijastro, ¡con la tapa de un
arcón! Al morir, la hermana recoge los huesos y los entierra bajo el mismo
enebro donde yace la madre del chico. El cuento no resulta menos evocador que
simbólico. Así, de la bruma que rodea como una premonición al árbol nace
súbitamente un fuego y, de éste, un pájaro de finas plumas, rojas y verdes,
ligero como un espíritu, el cual emprenderá un viaje exculpatorio que redima a
la familia de su sufrimiento, o al menos a quienes lamentaron la muerte del
niño. El bellísimo canto del pájaro conseguirá, en su camino de redención, que
le regalen una serie de prendas: tal es el papel que juegan en el cuento la
cadena de oro, los zapatos rojos y la piedra de molino, objetos con los que,
tras regresar el niño/pájaro a la casa familiar, obsequia a su padre y a su
hermana, respectivamente, y castiga a la malvada madrastra, echándole encima la
pesada piedra de molino.</span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Courier New, Courier, monospace;"><span lang="ES" style="color: black;">Este es el argumento toscamente resumido por
mí(<i>Fernando Valls</i>). Lo fascinante del cuento estriba en cómo se compagina el realismo y lo
fantástico, junto a lo poético y lo simbólico (por ejemplo, el simbolismo del
3) e incluso lo macabro con lo humano, sin olvidarse de la naturaleza, los
árboles y los animales, barajando los distintos elementos para crear
belleza y espanto. El papel que desempeña el enebro, bajo el cual se hallan
enterrados madre e hijo, o el canto del pájaro en la escena final (como ocurre
con la canción cubana en <i>Corazón tan blanco</i>, de Javier Marías);
cuya letra es repetida una y otra vez, como un <i>leit motiv</i>, para que
todos sepamos qué ha ocurrido realmente, resultan elementos clave. Pero también
el modo en que se explica la injusta conducta de la madrastra, dado que –se nos
dice- está inspirada por el maligno, quien la tienta una y otra vez, sin que
ella logre resistirse. O tras la decapitación del chico, la escenificación del
niño sentado con la cabeza en su sitio, tratando de disimular el tajo con un
pañuelo, para inculpar de ello a su hijita; o la escena en la que el padre se
lo come estofado, degustando la carne, sin sospechar que se trata de su propio
vástago, o el pájaro volando con la piedra de molino alrededor del cuello,
forman parte de la mejor literatura de horror, y debieron de impresionar e
influir profundamente en un pintor como Max Ernst. </span><span style="color: black;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Courier New, Courier, monospace;"><span style="color: white;">......</span><span style="color: black;"><o:p></o:p></span></span></div>
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<span lang="ES" style="color: black;"><span style="font-family: Courier New, Courier, monospace;">El final feliz, con la muerte de la
madrastra, la resurrección del niño, redimido al fin su espíritu inocente, en
una escena alegre que anticipa el futuro bienestar junto a su padre y hermana,
quizá sea la contribución mayor a las convenciones burguesas de la época. Como
todos los niños, leí a los Grimm durante mi infancia, pero habiéndome
sorprendido entonces, ha sido ya de mayor cuando más he disfrutado con sus
relatos. Muy cerca de mi casa, en Berlín, en el cementerio de San Matías, se
hallan enterrados los Grimm, lo que ha contribuido a redoblar mi interés por su
obra.</span></span><span style="color: black; font-family: Arial;"><o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-Ouro__LzQLY/U1lNt9sLjSI/AAAAAAAADLg/7_20mLh9bPo/s1600/Alejandra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Ouro__LzQLY/U1lNt9sLjSI/AAAAAAAADLg/7_20mLh9bPo/s1600/Alejandra.jpg" height="320" width="253" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white; color: #444444;">Seguimos con el<i> Texto que preparó </i><b style="font-style: italic;"><a href="http://www.isidroferrer.com/">Isidro Ferrer</a></b><i> para la
presentación del libro </i></span><span style="background-color: white; color: #444444;">Del enebro<i>, que tuvo lugar
el sábado 2 de junio de 2012 en la librería Cálamo de Zaragoza, extraído del blog de Alejandra</i><br />
<br />
«Presento este pequeño libro que encierra un gran libro. Y es un gran libro
porque está obrado con la sabiduría y el cuidado de los mejores ejemplos de
edición. Contiene todas las partes necesarias e imprescindibles para que este
artefacto sutil sea considerado un ejemplo de maestría y saber hacer. Un
ejemplo de oficio.<br />
Afirmo que es un libro grande porque está realizado con conocimiento de causa,
y porque todas las partes que lo conforman son piezas imprescindibles de este
caleidoscopio.</span><span style="color: #333333;"><br />
</span><span style="background-color: white; color: #444444;"><br />
Comencemos desde el principio:<br />
El libro se abre con una bellísima sobrecubierta compuesta con un refinado
gusto estético y no una menos sabia composición tipográfica, donde la
ilustración es parte esencial del entramado compositivo formando una cenefa que
cumple una doble función: decorativa y narrativa.<br />
La cubierta, desnuda de información nos sitúa en el relato presentando al
personaje principal: el pájaro.<br />
Doble guarda vegetal del color de las agujas del enebro. Desde la espesura del
bosque nos adentramos en el libro apartando la hojarasca.<br />
Portada, portadilla, créditos, índice, todo cumpliendo las partes de la composición
clásica, y de una exquisita ejecución.<br />
Fantástico y breve prólogo de <b>Francisco Ferrer Lerín</b>, escritor y experto
ornitólogo, que apunta una interesantísima teoría que está por desarrollar y es
la del «plagio a la inversa». Algo que acuñé hace unos años como «plagio por
anticipación» cuando descubrí que el bueno de <b>Bruno Munari</b> había calcado una
idea mía con más de 40 años de antelación.<br />
Sigamos...<br />
Llegamos a una parte esencial del libro y que nos da pistas de cómo ejercer de
lectores de este cuento de los hermanos Grimm.</span><span style="color: #333333;"><br />
</span><span style="background-color: white; color: #444444;"><br />
Las notas de la traducción:<br />
La traducción, que es una suerte de reescritura y una parte fundamental de
todos aquellos libros que son escritos en otra lengua y que deben pasar por
este terreno de la aproximación para poder ser degustados. La traducción nos
muestra el camino para poder comprender algunas partes esenciales en la
construcción literaria del texto.<br />
En la página 25 entramos en el cuerpo central del libro.<br />
El texto está compuesto en Garamond del cuerpo 12 con un interlineado del 16 en
caja centrada de 72 mm.<br />
El texto viene acompañado de ilustración a una, dos o tres tintas en
función de la necesidad, a página completa o a doble página.</span><span style="color: #333333;"><br />
</span><span style="background-color: white; color: #444444;"><br />
Las ilustraciones son de una sutileza y una maestría difícilmente superables.
Su autora, Alejandra Acosta, es una ilustradora de recursos variables. Una
ilustradora con solo siete años de ejercicio pero con más de una docena de
libros sabiamente iluminados.<br />
Ella misma dice que está en periodo de búsqueda y que el estilo, de llegar,
llegará en su momento. No hay nada más sabio en esta profesión que poner
obstáculos a la facilidad de la mano para repetir los gestos automáticos y
adentrarse en la incómoda pero feliz búsqueda del tono, de la voz apropiada a
cada texto.<br />
Alejandra dice de si misma que vive con un pájaro que le cuenta historias... y
que a veces ella las dibuja. Me gustaría conocer a este pájaro que nutre la
cabeza de Alejandra de imágenes poéticas. Y que le susurra al oído los caminos
por los que poner a caminar los dedos. Ella misma se dibuja con cabeza de
pájaro, así que desconfío que el pájaro del que habla no sea otro que ella
misma dispuesta a volar en cadas instante.<br />
En una entrevista, ella misma dice que cuando ilustra no trabaja a partir de
las palabras, sino a partir de la sensaciones que esas palabras le aportan, que
se empeña en configurar una entramada poética alrededor de esas palabras.<br />
Dice <b>Clarice Linspector</b> que «las palabras no tienen nada que ver con las
sensaciones. Las palabras son piedras duras y las sensaciones son delicadas,
fugaces, extremas».<br />
Creo que esta forma de trabajar con las sensaciones de Alejandra le conducen al
acierto de encontrar siempre el tono adecuado, el tono que corresponde a cada
texto.<br />
Las ilustraciones de este libro tienen un tono particular, un tono silencioso,
misterioso, dulce y aterrador. Un tono que proviene de la renuncia, de un deseo
expreso de no demostrar las habilidades del ilustrador sino de adecuar la voz
gráfica a la voz de las palabras impresas para que la sintonía resultante sea
una sinfonía armónica, sin estridencias ni recursos superfluos.<br />
Las ilustraciones de Alejandra llegan allí donde el texto no puede entrar,
señalando el camino de lo sensacional, la puerta abierta a las sensaciones.<br />
Cuánto se puede decir con tan poco, y de una manera tan callada. Poco más se
puede añadir.</span><span style="color: #333333;"><br />
</span><span style="background-color: white; color: #444444;"><br />
Pero no termina aquí <i>Del Enebro,</i> continúa con el texto
original en <i>Plattdeutsch</i> con una tipografía gótica negra de
época, manteniendo el ancho y largo de la caja pero suprimiendo el espacio
entre los puntos y aparte por un símbolo de párrafo en color rojo.<br />
El libro se cierra con un colofón. Un colofón que cumple todas las obligaciones
del colofón y que sirve de remate perfecto.<br />
Hasta aquí sería un gran libro, pero ahora entramos en el terreno de la
sorpresa, para hacer de esta edición un auténtico regalo para los sentidos. Y
junto a una deliciosa y perturbadora postal en donde los autores forman parte
del relato, encontramos un precioso taumatropo en el que el pájaro pone a latir
su corazón delante de la mirada asombrada del manipulador.<br />
<i>Del Enebro</i> celebra y recupera estos maravillosos oficios ejecutados
con la mayor exquisitez y sabiduría. El oficio del escritor, el oficio del
editor, el oficio del traductor, el oficio del impresor, el oficio de la
ilustradora.<br />
Solo encuentra una pequeña ausencia... el olor del enebro».<br />
<br />
<i>Aquí, Isidro Ferrer saca de su bolsillo una pieza de madera pulida, una
rodaja de tronco de enebro, que ofrece a los asistentes para que la toquen y la
huelan. Poco después se la regala a la ilustradora Alejandra Acosta. En estos
momentos descansa sobre una repisa, acompañada de otros objetos curiosos y
extraños, en su estudio de Santiago de Chile.</i></span></span><span style="font-family: Times;"><o:p></o:p></span><br />
<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white; color: #444444;"><i><b>Alejandra Acosta</b></i></span></span><br />
<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white; color: #444444;"><i><b><br /></b></i></span></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white; color: #444444;">En este mismo hilo se enhebran otros hilos como los cuentos de Poe y <i>"El club de los parricidas"</i> de </span></span><span style="font-family: 'Courier New', Courier, monospace;"><span style="background-color: white; color: #444444;"><b>Ambrose Bierce</b></span></span><span style="font-family: 'Courier New', Courier, monospace;"><span style="background-color: white; color: #444444;"> como señalara A. Salaberri, también <b>H.P. Lovecraft,</b> que en</span></span><span style="background-color: white; color: #444444; font-family: 'Courier New', Courier, monospace;"> 1945 </span><span style="background-color: white; color: #444444; font-family: 'Courier New', Courier, monospace;">escribió la novela <i>"El que acecha en el umbral"</i> rememorando la vida de su amigo Bierce. A su vez </span><b style="color: #666666; font-family: 'Courier New', Courier, monospace;"><a href="http://luisborras.wordpress.com/2011/12/13/ambrose-bierce-el-club-de-los-parricidas/">Luis Borrás</a></b><span style="background-color: white; color: #666666; font-family: 'Courier New', Courier, monospace;"> introduciéndonos en la novela Bierce, cuelga otros hilos que nos llevarían ya muy lejos... de los que dejo este</span><span style="background-color: white; color: #666666; font-family: 'Courier New', Courier, monospace;"> botón:</span></div>
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<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white; color: #666666;">(<b>...Bierce </b></span><span style="background-color: white; color: #666666;">es el protagonista de <b>“Gringo Viejo” </b>la
novela de <b>Carlos Fuentes</b> publicada en 1985 y que cuenta la
historia de un escritor y columnista estadounidense que, cumplidos los setenta
años, lo abandona todo y cruza la frontera mexicana para unirse a las tropas de <b>Pancho
Villa</b>. Historia que se convirtió en algo más que una novela de éxito al ser
llevada al cine por <b>Luis Puenzo</b> en 1989 y en la que Gregory
Peck interpretó a ese </span><i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #666666;">“Old Gringo”</span></i><span style="background-color: white; color: #666666;">. Pero con independencia de
la versión de esa novela y su película lo cierto es que <b>Bierce</b> se
unió voluntariamente a esa revolución para vivir así el último episodio de su
vida. Decisión que él mismo explicó por carta a un familiar antes de partir
rumbo a México: </span><i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: #666666;">“Si oyes que he sido fusilado junto a un muro de piedra
mexicano,</span></i><span style="background-color: white; color: #666666;"> </span><i><span style="background-color: white; color: #666666;">por favor, entiende que esa es una buena manera
de morir. Supera a la ancianidad, a la enfermedad o a una caída por las
escaleras de la bodega. Ser gringo en México ¡eso es eutanasia!”...)</span></i></span><br />
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<span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white; color: #666666;">Me envía un comentario Francisco Estévez sobre una reseña que escribió en su día sobre <i>El Enebro,</i> dejo el link, para los que gustan de miradas poliédricas, matices de talla fina y gusto por lo variado de la conversación frente a las disertación...</span></span></div>
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<span style="background-color: white; color: #666666; font-family: 'Courier New', Courier, monospace;">Publicado </span><span style="font-family: Courier New, Courier, monospace;"><span style="background-color: white; color: #666666;">en:</span></span></div>
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<span style="color: #666666; font-family: Courier New, Courier, monospace;"><a href="http://www.culturamas.es/blog/2012/12/02/del-enebro-de-los-hermanos-grimm/">http://www.culturamas.es/blog/2012/12/02/del-enebro-de-los-hermanos-grimm/</a></span></div>
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Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0tag:blogger.com,1999:blog-1657938328730100395.post-81572178497937158232014-04-23T15:53:00.003+02:002014-04-23T15:54:36.896+02:00Unidad de Estudio 3 Guillermo Kuitca / Joel Shapiro<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-AiNcd0yH30o/U1fFX2g_iFI/AAAAAAAADKs/tG0PGb1FgUs/s1600/Joel+Shapiro.+Untitled,+1994.+carb%C3%B3n+y+Pastel+sobre+papel,+229+x+153+cm..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-AiNcd0yH30o/U1fFX2g_iFI/AAAAAAAADKs/tG0PGb1FgUs/s1600/Joel+Shapiro.+Untitled,+1994.+carb%C3%B3n+y+Pastel+sobre+papel,+229+x+153+cm..jpg" height="640" width="480" /></a></div>
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<span style="font-family: "Courier New", Courier, monospace; font-size: x-small;">Joel Shapiro. Untitled, 1994. </span></div>
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<span style="font-family: "Courier New", Courier, monospace; font-size: x-small;">carbón y Pastel sobre papel, 229 x 153 cm.</span></div>
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<a href="https://drive.google.com/file/d/0Bwr3vbqMofQsYTg2U2tNd3ZPYXM/edit?usp=sharing"><span style="font-family: "Courier New", Courier, monospace;">Unidad de Estudio 3</span></a></div>
Antonio Rabazashttp://www.blogger.com/profile/01502346797594044942noreply@blogger.com0