Download Agua y destino: Introducción a la estética de Ramón Gaya by Inmaculada Murcia Serrano PDF

By Inmaculada Murcia Serrano

Sumario; Agradecimientos ix; Nota sobre el texto xi; Prólogo para estetas. Por Diego Romero de Solís xv; Introducción. Ramón Gaya, escritor 1; Primera parte: Los orígenes: Ramón Gaya y los angeles generación del 27 (1920-1939) 17; Capítulo I: Entre el veintisiete y Juan Ramón: l. a. poesía pura y l. a. definición de los angeles belleza 19; Capítulo II: Las vanguardias y los angeles "energía soterrada" de los angeles otra modernidad 37; Capítulo III: l. a. poesía de los angeles revolución fifty five; Capítulo IV: El Siglo de Oro y el giro generacional a los angeles tradición artística española sixty seven. Capítulo V: El exilio mexicano y l. a. nostalgia de l. a. patria pictórica 85Segunda parte: A l. a. búsqueda de los angeles esencia de l. a. creación (1951-2005) ninety five; Capítulo VI: El "alma húmeda" de los angeles pintura ninety seven; Capítulo VII: Arte artístico y arte creador 123; Capítulo VIII: Más allá del arte o el numen de los angeles creación 149; Capítulo IX: Velázquez, el desertor 159; Epílogo 181; Bibliografía 185; Índice 191.

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9. C. t.  21. Introducción. 16 No ha de extrañar que al pintor le molestaran tanto los escritos sobre arte de Ortega, en la mayoría de los cuales quiso ver no más que muestras fehacientes de una crítica empeñada en desencantar el misterio del arte. En cuarto lugar, Gaya cree que la característica anterior provoca de forma casi instantánea que los críticos de arte se planten ante la obra, no como hombres, sino como “peritos”, dejando de ser alguien, para convertirse en algo. 17 Por eso, para el escritor, no es que los críticos tengan una relación equivocada con la obra de arte, sino que no la tienen en absoluto.

Apareció en Roma en 1975, y se reeditó después, en 1996, en una editorial madrileña. 11 En el ensayo, el pintor renuncia indirectamente a practicarla y expone diferentes argumentos para amparar su decisión. En primer lugar, Gaya piensa que, mientras que la pintura nace con el hombre y forma parte de la vida, la crítica no existe desde un principio. 12 Para Gaya, la crítica tiene un origen artificial, que data del Renacimiento, y es por eso algo forzado y, sobre todo, superf luo o innecesario. A decir verdad, la figura del crítico de arte se afirmó y estableció de forma definitiva, no en el Renacimiento, sino después del Barroco.

Una estética sin filosofía Para ir adentrándonos en la manera como Gaya se enfrenta al arte y escribe sobre él, todavía nos falta por analizar el papel que atribuye a la estética. De la lectura de sus textos se deduce que esta disciplina resulta insuficiente para entender el arte, aunque hay que decir que el escritor posee demasiados prejuicios y una forma de entenderla reduccionista y deficiente.  12. Introducción. Ramón Gaya, escritor 11 el problema radica en hacerla depender de la filosofía, lo que provoca que recaigan sobre ella todas las prevenciones que el pintor tiene de ésta.

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