{"id":10211,"date":"2019-12-07T17:11:34","date_gmt":"2019-12-07T17:11:34","guid":{"rendered":"https:\/\/portraitonpastel.com\/?p=10211"},"modified":"2019-12-07T17:11:34","modified_gmt":"2019-12-07T17:11:34","slug":"pastel-painting-exhibition-touching-the-color-the-renewal-of-pastel-2","status":"publish","type":"post","link":"https:\/\/portraitonpastel.com\/es\/pastel-painting-exhibition-touching-the-color-the-renewal-of-pastel-2\/","title":{"rendered":"Exposici\u00f3n de Pastel, \u00abTocar el color\u00bb, la renovaci\u00f3n del pastel (2)"},"content":{"rendered":"

El siglo XVIII como un espejo<\/strong><\/p>\n

Si bien la t\u00e9cnica del pastel conoci\u00f3 en el siglo XVIII un auge formidable hasta el punto de situarse en igualdad de condiciones con otras t\u00e9cnicas, nunca lleg\u00f3 a conquistar del todo su legitimidad frente a la pintura al oleo. Su fragilidad intr\u00ednseca y el hecho de ser utilizada como herramienta para el esbozo la situaron en tierra de nadie; un lugar lim\u00edtrofe que, parad\u00f3jicamente, se acaba convirtiendo en su gran valor.<\/p>\n

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\u00c9mile L\u00e9vy (1826-1980), “Retrato de Madame Charles Steeg”, 1887, \u00a9photo by Bogra art studio, 2019<\/p><\/div>\n

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\u00c9mile L\u00e9vy (1826-1980), “Retrato de Madame Charles Steeg” detalle, 1887, \u00a9photo by Bogra art, 2019<\/p><\/div>\n

Al repasar el arte del pastel en los siglos XIX y XX, nos encontramos con algo que parece una tendencia: las alusiones al siglo XVIII configuran un aut\u00e9ntico hilo conductor. Podemos verlo en una artista tan tard\u00edo como Jean H\u00e9lion, cuto autorretrato al pastel remite expl\u00edcitamente a un c\u00e9lebre autorretrato de otro pastelista, precisamente del siglo XVIII: Jean Sim\u00e9on Chardin.<\/p>\n

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Jacques-\u00c9mile Blanche (1861-1942), “Elegante en vestido amarillo” 1890, \u00a9photo by Bogra art, 2019<\/p><\/div>\n

Pero estos ecos son solo juegos on la tradici\u00f3n. Los pastelistas son conscientes de que recae sobre ellos las sospechas de practicar una pintura de segunda categor\u00eda; por ello invocan al siglo XVIII, para apropiarse de una parte de la legitimidad adquirida por sus predecesores.<\/p>\n

\"\"

Albert Edelfelt (1854-1905), \u201cLouis Pasteur Vallery-Radot\u201d, 1891, photo by \u00a9Bogra, 2019<\/p><\/div>\n

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Albert Edelfelt (1854-1905), \u201cLouis Pasteur Vallery-Radot\u201d detalle, 1891, photo by \u00a9Bogra, 2019<\/p><\/div>\n

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Albert Edelfelt (1854-1905), \u201cLouis Pasteur Vallery-Radot\u201d detalle, 1891, photo by \u00a9Bogra, 2019<\/p><\/div>\n

Sin embargo, el homenaje al siglo anterior puede obedecer tambi\u00e9n a motivos mas espec\u00edficamente est\u00e9ticos. Los pasteles del siglo XVIII, todo levedad, encanto, elegancia, naturalidad, constituyen una invitaci\u00f3n a liberarse de las convenciones y reglas impuestas en los programas acad\u00e9micos. As\u00f3 lo entiende, por ejemplo, Jules Ch\u00e9ret, que electriza sus composiciones con una energ\u00eda que la cr\u00edtica de la \u00e9poca defini\u00f3 como \u201cfanfarria de colores\u201d y \u201cfulgores de fantas\u00eda\u201d.<\/p>\n

La Sociedad de Pastelistas Franceses: Un colectivo ecl\u00e9ctico<\/strong><\/p>\n

En 1885, Roger Ballu, Inspector de Bellas Artes de Francia, crea la Sociedad de Pastelistas franceses, encargada espec\u00edficamente de \u201cmostrar, desarrollar y alentar el arte del Pastel\u201d.<\/p>\n

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Giovanni Boldini, (1842-1931), \u201cRetrato de Gyp\u201d ,1894, photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

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Giovanni Boldini, (1842-1931), \u201cRetrato de Gyp\u201d ,1894, photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

En cierto modo, la propia creaci\u00f3n de una estructura dedicada a la defensa del pastel indica que la legitimidad de la t\u00e9cnica a\u00fan est\u00e1 en entredicho. En este sentido, la primera exposici\u00f3n en 1885 de dicha Sociedad, en la que figuran numerosas obras de los maestros del siglo XVIII, es una se\u00f1al evidente: los pastelistas, en pos de prestigio y credibilidad, buscan antecesores ilustres.<\/p>\n

\"\"

Pierre Carrier-Belleuse (1851-1932), \u201cBailarina atando sus zapatillas\u201d 1892, (Pastel on canvas) photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

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\u201cBailarina atando sus zapatillas\u201d detalle, 1892, (Pastel on canvas) photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

La Sociedad, atenta al talento de sus miembros, no impone est\u00e9tica alguna, de tal manera que sus exposiciones se caracterizan por el eclecticismo y la diversidad tem\u00e1tica; las vistas de pueblos que hacen c\u00e9lebre a Jean-Charles Cazin se codean con los paisajes de Alexandre Nozal, mientras que las figuras serenas y cl\u00e1sicas de Pierre Puvis de Chavannes contrastan con las mucho m\u00e1s resplandecientes de Albert Besnard.<\/p>\n

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Pierre Puvis de Chavannes (1824-1898) \u201cLa modelo\u201d, 1887, \u00a9photo by Bogra art studio, 2019<\/p><\/div>\n

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Pierre Puvis de Chavannes (1824-1898) \u201cLa modelo\u201d detalle, 1887, \u00a9photo by Bogra art studio, 2019<\/p><\/div>\n

\"\"

Pierre Puvis de Chavannes (1824-1898) \u201cLa modelo\u201d detalle, 1887, \u00a9photo by Bogra art, 2019<\/p><\/div>\n

En sus treinta a\u00f1os de existencia, la Sociedad de Pastelistas Franceses logra colocar este medio bajo los focos. Sin embargo, el reconocimiento no deja de ser imperfecto porque, a falta de renovaci\u00f3n, la Sociedad envejece y se a\u00edsla de los artistas realmente innovadores.<\/p>\n

\"\"

Albert Besnard (1849-1934), \u201cMujer con Papagayo\u201d, Pastel on paper, \u00a9photo by Bogra art, 2019<\/p><\/div>\n

\"\"

Albert Besnard, \u201cMujer con Papagayo\u201d detalle, Pastel on paper, \u00a9photo by Bogra art, 2019<\/p><\/div>\n

\"\"

Albert Besnard (1849-1934), \u201cMujer con Papagayo\u201d detalle, \u00a9photo by Bogra art, 2019<\/p><\/div>\n

Y el hecho es que tampoco entra en el esp\u00edritu de los artistas modernos, que tan abierto son al uso desprejuiciado de diferentes medios, adherirse a una Sociedad que defiende una t\u00e9cnica por encima de otra y sigue poniendo en el pedestal el remoto siglo XVIII.<\/p>\n

(Textos de la exposici\u00f3n; “Touching the color, The renewal of Pastel”, Casa Garriga Nogues, 2019.)<\/p>","protected":false},"excerpt":{"rendered":"

El siglo XVIII como un espejo Si bien la t\u00e9cnica del pastel conoci\u00f3 en el siglo XVIII un auge formidable hasta el punto de situarse en igualdad de condiciones con otras t\u00e9cnicas, nunca lleg\u00f3 a conquistar del todo su legitimidad frente a la pintura al oleo. Su fragilidad intr\u00ednseca y el hecho de ser utilizada […]<\/p>\n","protected":false},"author":4,"featured_media":10225,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","footnotes":""},"categories":[1,110,145,174,176,234,251,272,277,284,292],"tags":[307,308,78,309,79,310,80,311,82,312,83,313,89,112,113,125,178,179,180,262,306],"class_list":["post-10211","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","category-pastel-portrait","category-museum","category-art-exhibition","category-painting-exhibition","category-pastel-colors","category-drawing","category-exhibition","category-france","category-history","category-pastel-painting","tag-french-painters","tag-albert-edelfelt","tag-pastel-portrait","tag-emile-levy","tag-pastel-painting","tag-giovanni-boldini","tag-drawing-portraits","tag-pierre-puvis","tag-color-portrait","tag-albert-besnard","tag-handmade-painting","tag-pastel-on-paper","tag-pastel-technique","tag-history","tag-retrato","tag-art","tag-pastel","tag-exhibition","tag-france","tag-art-exhibition","tag-painters"],"yoast_head":"\nExposici\u00f3n de Pastel, \u00abTocar el color\u00bb, la renovaci\u00f3n del pastel (2) - 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