{"id":584,"date":"2014-10-05T10:33:19","date_gmt":"2014-10-05T08:33:19","guid":{"rendered":"https:\/\/realgoya.com\/?p=584"},"modified":"2015-01-30T11:27:56","modified_gmt":"2015-01-30T09:27:56","slug":"sueno-razon","status":"publish","type":"post","link":"https:\/\/realgoya.com\/en\/sueno-razon\/","title":{"rendered":"El sue\u00f1o de la raz\u00f3n produce monstruosThe dream of reason produces monsters"},"content":{"rendered":"

\"foto1_realgoya_oct2014\"<\/p>\n

En un pueblo llamado Codo, justo a 27,2 kil\u00f3metros de la casa natal de Francisco de Goya y Lucientes, en Fuendetodos, naci\u00f3 mi abuela materna siglo y pico despu\u00e9s de la muerte de aquel. Parece mucho tiempo, pero quiz\u00e1 entre mi abuela y Goya puede haber \u00fanicamente unas dos o tres generaciones de diferencia. Pensar en todo ello me hace sentir a Goya no muy lejano.<\/p>\n

Junto con mi actividad como pintor, mi vida profesional discurre entre el arte y la Bioneuroemoci\u00f3n.<\/p>\n

Bioneuroemoci\u00f3n\u00ae es un m\u00e9todo cient\u00edfico en el que estudiamos la afecci\u00f3n de las emociones en la vida de las personas. Estudiamos nuestro inconsciente personal, el inconsciente familiar y el colectivo-social. Estudiamos c\u00f3mo afecta todo ello a nuestra mente, a nuestra psique, y por resonancia, a nuestro cuerpo y a nuestras vivencias.<\/p>\n

M\u00e1s que c\u00f3mo artista, me gustar\u00eda dar una visi\u00f3n personal de Goya desde mi actividad profesional de acompa\u00f1ante en Bioneuroemoci\u00f3n. Como pintor, lo que puedo decir es que Goya me maravilla por su genialidad. He observado de cerca sus planchas en la Calcograf\u00eda Nacional en Madrid, son impresionantes. Se puede apreciar la fuerza de la mano del artista sobre el metal; me emociona. Incluso he podido ver de cerca sus pinturas en los muros de la Cartuja del Aula Dei. Tambi\u00e9n he visto distintas obras suyas en diferentes museos. De todo ello me cautivan sus pinturas negras exhibidas en el museo del Prado.<\/p>\n

\"foto2_realgoya_oct2014\"<\/p>\n

Detalle de las pinturas negras.<\/h6>\n

 <\/p>\n

Observo en la obra de Goya los impactos emocionales de la barbarie humana. Con sus im\u00e1genes y transcripciones de la realidad de su \u00e9poca, me conmueven las vivencias de la poblaci\u00f3n de entonces. Pienso en ello, y se produce un nudo en el est\u00f3mago. \u00a1C\u00f3mo somos el g\u00e9nero humano! Si reflexiono un poco, quiz\u00e1 lo que m\u00e1s me conmueve es que no hemos cambiado mucho desde entonces, lo cierto es que no hay demasiadas generaciones de diferencia. Seguimos en una misma din\u00e1mica. Estamos heredando generaci\u00f3n tras generaci\u00f3n dicha barbarie, y hombres y mujeres no logramos finalizar con las experiencias traum\u00e1ticas y dolorosas.<\/p>\n

Goya hace consciente el inconsciente de una \u00e9poca. Saca a la luz la sombra humana. La hace presente al ojo del espectador. Da la sensaci\u00f3n de que hace uso de una especie de surrealismo pict\u00f3rico, pero nada m\u00e1s lejos de ello. Pone en relieve la realidad de la Espa\u00f1a de entonces. Pinta con extremado realismo, o m\u00e1s bien hiperrealismo, la oscuridad pesada del Inconsciente Colectivo –t\u00e9rmino acu\u00f1ado por el psiquiatra suizo Carl Gustav Jung, quien postul\u00f3 la existencia de un sustrato com\u00fan a los seres humanos de todos los tiempos y lugares del mundo, constituido por s\u00edmbolos primitivos con los que se expresa un contenido de la psique que est\u00e1 m\u00e1s all\u00e1 de la raz\u00f3n<\/em>-.<\/p>\n

En sus retratos, Goya muestra con gran gentileza las actitudes personales y las emociones de quien posa para \u00e9l. Su paleta y sus pinceles expresan a trav\u00e9s de una diestra mano, el ser en esencia. Producto de su alto grado de observaci\u00f3n sintetiza con varios brochazos el alma de la persona. Su manera de observar, no deja de ser un arte tan o m\u00e1s sublime que el arte de su mano.<\/p>\n

\"foto3_realgoya_oct2014\"<\/p>\n

Goya absorbe en su corporalidad y en su psique lo que tiene delante de sus ojos. Realiza una especie de \u201cacto vomitivo\u201d con el pincel y la pintura. Percibe lo que el ojo no puede ver, lo somatiza y lo traduce en manchas de color.<\/p>\n

Fe de ello, son sus pinturas negras. Las realiz\u00f3 tras visitar manicomios, cementerios y hospitales de apestados. Aqu\u00ed se pone de manifiesto la sombra del hombre y la mujer en un absoluto realismo, incluso la sombra del colectivo del propio pa\u00eds. Absorbi\u00f3 y tradujo con pintura, lo que permanece oculto, lo no dicho, el pecado, el ahogo y el desprecio de hermano a hermano. Los monstruos del sue\u00f1o de una raz\u00f3n sin raz\u00f3n.<\/p>\n

No olvidemos tambi\u00e9n sus grabados, los desastres de la Guerra: las atrocidades hechas y vividas por hombres y mujeres. Quiz\u00e1 Goya, si no hubiese podido expresar \u2013hablar- con sus grabados y pinturas, lo que sus ojos vieron, la realidad de su vida le hubiera llevado a la locura m\u00e1s intensa. Su rabia vital se expresa en la potencia de los trazos sobre el metal de las planchas de los grabados. Creo imaginar que su sordera fue un recurso de su inconsciente biol\u00f3gico para poder soportar tanto sufrimiento. Hizo o\u00eddos sordos a la violencia, a la sin raz\u00f3n, a lo peor que el ser humano puede expresar en el mundo f\u00edsico. Puede que tambi\u00e9n hiciera mella en \u00e9l la indiferencia de la nobleza hacia sus cong\u00e9neres. No me extra\u00f1ar\u00eda que pudiera comprobar de primera mano esa indiferencia de unos hombres y mujeres \u201cnobles\u201d hacia otros hombres y mujeres de los que \u00fanicamente les separaba la escala social; una estupidez de castas que la humanidad invent\u00f3 no s\u00e9 cuando. Otra sin raz\u00f3n.<\/p>\n

\"foto4_realgoya_oct2014\"\"foto5_realgoya_oct2014\"<\/p>\n

Al final, su salida de Espa\u00f1a a Francia parece que alivi\u00f3 la sombra que pudo atormentar su mente y su psique. S\u00f3lo hay que apreciar el cambio en su pintura, m\u00e1s d\u00f3cil, m\u00e1s suave, m\u00e1s suelta, como por ejemplo en el cuadro La lechera de Burdeos.<\/p>\n

En mi personal alucinaci\u00f3n sobre Goya, veo a un hombre dotado de altas capacidades para el arte y la psicolog\u00eda; un gran ingenio para captar lo profundo de las personas. Es un hombre sensible ante lo humano.<\/p>\n

Siguiendo con mi alucinaci\u00f3n, creo intuir en su forma de observar, una capacidad psicoanal\u00edtica fuera de lo com\u00fan. Sintoniz\u00f3, como una antena, con la sombra humana. Tradujo con extrema realidad lo escondido, lo oculto en las mentes del inconsciente. Tambi\u00e9n la belleza.<\/p>\n

Cierro los ojos, y aquellos monstruos del sue\u00f1o de la raz\u00f3n aparecen y se hacen reales hoy en d\u00eda. Liberar la sombra heredada, liberar una raz\u00f3n sin raz\u00f3n.<\/p>\n

Quiz\u00e1 la liberaci\u00f3n pueda parecer que queda muy lejos de la esencia del coraz\u00f3n, que es el amor. Me atrevo a decir que no est\u00e1 tan lejos. Hay esperanza. Mientra haya un coraz\u00f3n que bombea, hay una luz de esperanza que ilumina nuestras conciencias con la esencia de lo que ya somos y nunca hemos dejado de ser, pese a la barbarie del ego.<\/p>\n

Darle las gracias a Don Francisco por su legado tanto art\u00edstico como humano. Por su arrojo y su valent\u00eda, por su sinceridad de mostrar aquello que muy pocos se atreven a mostrar: los monstruos de la sin raz\u00f3n.<\/p>\n

 <\/p>\n

Eduardo Cebollada<\/p>\n

\"foto1_realgoya_oct2014\"My maternal grandmother was born in a town called Codo, just 27.2 kilometers away of the birthplace of Francisco de Goya y Lucientes, in Fuendetodos, century something after his death. It seems long time, but perhaps between my grandmother and Goya may have only a few two or three generations of difference. Thinking about all this makes me feel Goya not too distant.<\/p>\n

Along with my activity as a painter, my professional life runs between art and the Bioneuroemotion<\/em>.<\/p>\n

Bioneuroemotion<\/em>\u00ae is a scientific method in which we study the condition of emotions in people’s lives. We study our personal unconscious, the familiar and social-collective unconscious. We studied how all this affects our mind, our psyche, and in resonance, our body and our experiences.<\/p>\n

More than as an artist, I would like to give a personal view of Goya from my professional activity of companion in Bioneuroemotion<\/em>. As a painter, what I can say is that Goya wonders me for his genius. I have closely observed their plates in the National Chalcography in Madrid, they are impressive. You can see the strength of the artist hand on the metal. This excites me. Even I could see his paintings on the walls of the Charterhouse in Aula Dei (near Zaragoza). I have also seen several of his works in different museums. From all this which captivate me are his black paintings exhibited in the Prado Museum<\/em>.<\/p>\n

\"foto2_realgoya_oct2014\"<\/p>\n

Detail of the black paintings.<\/h6>\n

 <\/p>\n

I see in the work of Goya the emotional impacts of human barbarism. With their images and transcriptions of the reality of his time, touch me the experiences of that time population. I think about it, and there is a knot in my stomach. How is the human race! If I think a bit, perhaps what touch me most is that we have not changed much since then; the truth is that there are not too many generations of difference. We continue in a same dynamics. We are inheriting generation after generation this barbarism, and men and women fail to end with the traumatic and painful experiences.<\/p>\n

Goya makes conscious the unconscious for a time. It brings to light the human shadow. Does it present to the eye of the observer. It seems that makes use of a kind of pictorial surrealism, but nothing is further from it. Put in relief the reality of the Spain of the time. He paints with extreme realism, or rather hyper-realism, the heavy darkness of the collective unconscious –a term coined by the Swiss psychiatrist Carl Gustav Jung, who postulated the existence of a substratum common to human beings of all times and places in the world, consisting of primitive symbols that expressed a content of the psyche that is beyond reason<\/em>-.<\/p>\n

In his portraits, Goya shows with great courtesy personal attitudes and emotions of who poses for him. His palette and his brushes expressed through a skilful hand, being in essence. Product of his high degree of observation summarizes with several strokes the soul of the person. His way to observe is no longer an art so or more sublime than the art of his hand.<\/p>\n

\"foto3_realgoya_oct2014\"<\/p>\n

Goya absorbs in his physicality and his psyche what has in front of his eyes. He makes a sort of “emetic act” with brush and paint. He sees what the eye cannot see, express and translates it in spot-coloured.<\/p>\n

Faith to this is his black paintings. He made them after visiting mental hospitals, cemeteries and extreme penitence and charity hospitals. Here it highlights the shadow of man and woman in an absolute realism, even the shadow of the collective of the country itself. Absorbed and translated with painting, what remain hidden, what is not said, the sin, drowning and contempt for brother to brother. Monsters of a reason dream with no reason.<\/p>\n

Let’s not also forget his etchings, Disasters of War: atrocities made and lived by men and women. Perhaps Goya, if had not been able to express -talk- with his engravings and paintings, what his eyes saw, the reality of his life had led him to the more intense insanity. His vital rage is expressed in the power of the strokes on metal plates of the engravings. I imagine that his deafness was their unconscious biological resource to be able to withstand so much suffering. He did turn a deaf ear to violence, to the unreasonably, to the worst that human beings can be expressed in the physical world. It can also do dent in him the indifference of the nobility towards their fellow human beings. It would not surprise me that he could check firsthand that indifference of a few \u201cnoble\u201d men and women towards other men and women who only separated them by the social ladder; a stupidity of castes that mankind invented I don’t know when. Another outrage.<\/p>\n

\"foto4_realgoya_oct2014\"\"foto5_realgoya_oct2014\"<\/p>\n

In the end, his departure from Spain to France seems that relieved the shadow that could haunt his mind and psyche. You just have to appreciate the change in his painting, more manageable, softer and looser, as for example in the painting \u2018La lechera de Burdeos\u2019 <\/em>(The milkmaid of Bordeaux).<\/p>\n

 <\/p>\n

In my personal hallucination about Goya, I see a man endowed with high abilities for art and psychology; a great ingenuity to capture deep in people. He is a man sensitive to the human.<\/p>\n

Following my hallucination, I think intuit in his way to observe, a psychoanalytic capacity out of the ordinary. He tuned, like an antenna, with the human shadow. He translated with extreme reality the hidden, unseen in the minds of the unconscious. The beauty too.<\/p>\n

I close my eyes, and those monsters of reason dream appear and become real today. Release the inherited shadow; release a reason with no reason.<\/p>\n

Perhaps the release may look that is very far from the essence of the heart, which is love. I dare say that it is not so far. There is hope. While there is a heart that pumps, there is a glimmer of hope that illuminates our conscience with the essence of what we are and we have never ceased to be, despite the barbarity of the ego.<\/p>\n

I want to thank Don Francisco for his both human and artistic legacy. For his bravery and courage, his sincerity in showing what very few dare to show: the monsters of the outrage.<\/p>\n

 <\/p>\n

Eduardo Cebollada<\/p>\n<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

En un pueblo llamado Codo, justo a 27,2 kil\u00f3metros de la casa natal de Francisco de Goya y Lucientes, en Fuendetodos, naci\u00f3 mi abuela materna siglo y pico despu\u00e9s de la muerte de aquel. Parece mucho tiempo, pero quiz\u00e1 entre mi abuela y Goya puede haber \u00fanicamente unas dos o tres generaciones de diferencia. Pensar […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[13,6],"class_list":["post-584","post","type-post","status-publish","format-standard","hentry","category-sin-categoria","tag-eduardo-cebollada","tag-goya"],"_links":{"self":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/584","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/comments?post=584"}],"version-history":[{"count":0,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/584\/revisions"}],"wp:attachment":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/media?parent=584"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/categories?post=584"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/tags?post=584"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}