{"id":656,"date":"2015-03-02T10:43:09","date_gmt":"2015-03-02T08:43:09","guid":{"rendered":"https:\/\/realgoya.com\/?p=656"},"modified":"2015-03-02T10:47:17","modified_gmt":"2015-03-02T08:47:17","slug":"arte-meditado","status":"publish","type":"post","link":"https:\/\/realgoya.com\/en\/arte-meditado\/","title":{"rendered":"Arte meditadoThoughtful Art"},"content":{"rendered":"

Hay cuadros que valen por toda una exposici\u00f3n. Y que no siempre son los que en ocasiones vemos, aislados, en los museos; pero hay excepciones a esta regla, como cuando nos traen a casa el \u201cInocencio X<\/em>\u201d de Vel\u00e1zquez. Hace unos pocos a\u00f1os, ese retrato inaudito visit\u00f3 temporalmente el Museo Nacional del Prado. El problema, en casos as\u00ed, es hacer cola o buscar la recomendaci\u00f3n para lograr verlo con mayor tranquilidad, sobre todo si vives fuera de Madrid. O acordar fecha y hora\u2026.. que se reduce a \u00a1cinco minutos! y en grupo. Son los problemas derivados del marketing de la cultura de masas.<\/p>\n

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\"InocencioX\"<\/p>\n

Retrato de Inocencio X
\nOleo \/ lienzo,\u00a0140 x 120 cm.\u00a0Diego Vel\u00e1zquez, Agosto de 1650,\u00a0Galer\u00eda Doria Pamphili. Roma (Italia)<\/h6>\n

Cabe el consuelo de viajar a Roma, o de aprovechar un viaje all\u00e1, para acercarse por el Corso hasta el n\u00famero 305, muy cerca de la Piazza Venezia y entrar por un pasaje relativamente bien se\u00f1alizado al excepcional Palazzo Doria-Pamphili, que alberga a la tambi\u00e9n conocida como Galer\u00eda Doria-Pamphili. All\u00ed, un d\u00eda de labor y a una hora c\u00f3moda, pongamos a media ma\u00f1ana, tiene uno la inmensa fortuna de llegar, casi en solitario, al camar\u00edn que lo alberga y que fue construido ex profeso<\/em> en el siglo XIX. All\u00ed est\u00e1 el Inocencio X (nacido Giovanni Battista Pamphili) de Vel\u00e1zquez, realizado en el verano de 1650, en compa\u00f1\u00eda \u00fanicamente del busto que le ejecut\u00f3 Bernini. Y est\u00e1 para uno s\u00f3lo, si tienes esa fortuna. Nadie va a importunarte; nadie vendr\u00e1 a \u201cempujar\u201d para que termines y te vayas. Nadie te dir\u00e1, \u00a1qu\u00e9 horror!, que tus 5 minutos se han terminado. Puedes estar media hora o m\u00e1s tiempo y disfrutar de tan incre\u00edble fortuna. Podr\u00e1s meditar el arte como pocas veces en la vida. Y ante semejante magnitud, la pregunta: \u00bfc\u00f3mo creer que el pintor de un cuadro como \u00e9ste no hab\u00eda alcanzado todav\u00eda su cumbre? \u00a1claro que la alcanzaba!. Terminado el fest\u00edn <\/em>y renovados internamente por tal ilusi\u00f3n creadora, despu\u00e9s de todo, al despertar de la meditaci\u00f3n y del sue\u00f1o del tiempo y salir al Corso, s\u00f3lo una buena Osteria o Trattoria lograr\u00e1 atemperar debidamente la \u201cvuelta al mundo\u201d, y si has elegido bien, a tu reconfortado esp\u00edritu.<\/p>\n

Semejante \u201cexposici\u00f3n \u00fanica\u201d \u00bfser\u00eda visitada por Goya?; \u00bfver\u00eda el aragon\u00e9s esta maravilla de retrato?. Lo ignoro, pero debi\u00f3<\/em> verlo; m\u00e1xime conocida la admiraci\u00f3n de Goya por su compatriota Diego Vel\u00e1zquez. Y porque all\u00ed estaba Goya , en la Roma de 1770, cuando realiz\u00f3 su viaje a Italia, a la manera del buen y aplicado artista europeo en su particular grand tour.<\/em> No tiene m\u00e1s que 24 a\u00f1os. Esto supone, seg\u00fan la ley com\u00fan de la \u00e9poca, 26 a\u00f1os todav\u00eda por sufrir. Pero como se trata de un prodigio gen\u00e9tico, le restan todav\u00eda, en realidad, 58 a\u00f1os de arte meditado.<\/p>\n

Escribe Katharina Hegewisch. \u201cel arte sit\u00faa un espejo frente al individuo ante quien aparecen el reflejo de sus nostalgias, de sus problemas, de sus angustias y de sus utop\u00edas; vuelve lo privado p\u00fablico y permite vivir experiencias por procuraci\u00f3n. Funciona como un sism\u00f3grafo que registra las fluctuaciones de la existencia; nos obliga a mover, desasegura, excita y provoca. \u201c (l\u2019Art de l\u2019exposition<\/em>, Ed. Du Regard. Paris. 1998).<\/p>\n

Pues bien, a d\u00eda de hoy por poco aficionado a las bellas artes que seamos, todos hemos visitado exposiciones que quedaron grabadas en nuestra retina y memoria, y otras que r\u00e1pidamente fueron olvidadas, justa o injustamente. Y a\u00f1ade Hegewisch que \u201ccada uno recibe el arte de manera diferente. Saber si una exposici\u00f3n ser\u00e1 percibida como un templo, un infierno o una feria, si se transformar\u00e1 en triunfo o en fiasco financiero, esos son los elementos sobre los que no se puede influir m\u00e1s que parcialmente. El \u00e9xito es un concepto relativo, que para el organizador se define de manera diferente que para el artista o el p\u00fablico.\u201d<\/p>\n

Como dec\u00edamos m\u00e1s arriba, hay cuadros que valen por toda una exposici\u00f3n, pero quiz\u00e1s tan importante, o m\u00e1s, es saber reunir las obras de arte y darles un valor a\u00f1adido si ello fuera posible. Se trata de una plusval\u00eda intelectual y moral que se constituye en un derecho inalienable. Me refiero a aquellos comisarios de exposiciones con criterio expositivo que saben<\/em> c\u00f3mo hacerlo; tienen esa capacidad, esa nobil\u00edsima virtud que les hace responsables del contenido y de la forma de la exposici\u00f3n, as\u00ed como de la puesta en escena. Ciertamente tambi\u00e9n los hay, por infortunio, cuya gracia<\/em> reside en lugares innombrables del cuerpo humano y que nos proporcionan la desdicha de componer aut\u00e9nticos bodrios, confeccionados a base de buenas obras de arte o, peor todav\u00eda, en extra\u00f1as macedonias de buenas y malas obras. S\u00ed, es toda una desgracia que ciertos bien intencionados pero poco h\u00e1biles mecenas<\/em> encomienden torpemente, a personajes de segunda categor\u00eda, tareas que en lugar de procurar buenos ejemplos terminen convirti\u00e9ndose en el canon de lo repudiable. En el mejor de los casos ser\u00e1 una triste p\u00e9rdida de tiempo, y de dinero, que van directos al olvido.<\/p>\n

Somos testigos involuntarios de casos as\u00ed y lamentamos la extrema insuficiencia y el c\u00f3mo algunos disponen las cosas completamente al rev\u00e9s; como nunca debi\u00f3 hacerse, ni siquiera intentarse. Y nos preguntamos \u00bfc\u00f3mo se le ocurre semejante majader\u00eda a este genio<\/em>? \u00bfpero d\u00f3nde tiene los ojos?. Y ni siquiera consuela saber que no s\u00f3lo ocurre con las exposiciones, tambi\u00e9n en el cine, en el teatro, en la edici\u00f3n y en tantas otras disciplinas o situaciones \u00e1cidamente llamativas.<\/p>\n

Regresando a la colecci\u00f3n Doria-Pamphili, desde el XIX cuenta con el camar\u00edn construido s\u00f3lo para albergar el famoso retrato velazque\u00f1o y parece ser que desde el siglo XVIII hay en esa benem\u00e9rita instituci\u00f3n un documento que detalla con precisi\u00f3n la colocaci\u00f3n que debe tener cada cuadro, seg\u00fan criterios de simetr\u00eda y afinidad estil\u00edstica. \u00bfNo est\u00e1 mal, no?. Pero tampoco se pueden pedir peras al olmo, ni f\u00f3rmulas que proporcionen m\u00e9todos infalibles. El libre albedr\u00edo, la coincidencia afortunada, el sentido de la proporci\u00f3n, el n\u00famero a\u00fareo, el ojo entrenado, la visi\u00f3n espacial, el conocimiento del artista y su obra, la veteran\u00eda, la simetr\u00eda, el tiempo, la vocaci\u00f3n bien dirigida, el saber asimilado, la virtud de distinguir, el gusto, la oportunidad, los gui\u00f1os de la inteligencia, la orientaci\u00f3n, los sentidos bien entonados, el olfato, la vista, la meditaci\u00f3n del arte, el o\u00eddo, la afinidad estil\u00edstica, la iluminaci\u00f3n, el significado del color, la forma y la proporci\u00f3n, la sensibilidad, el contorno, la humedad e incluso el magnetismo\u2026.. objetiva y subjetivamente valen y son utilizados simult\u00e1nea y sucesivamente por quienes pueden y quieren hacerlo. Y podr\u00edamos a\u00f1adir m\u00e1s y m\u00e1s condicionantes presididos por el estudio y la buena educaci\u00f3n, pero citado el magnetismo, aunque pueda estar sacado de contexto, perm\u00edtaseme destacar un p\u00e1rrafo que me ha conmovido del libro \u201cSe\u00f1or del mundo\u201d , de Robert Hugh Benson (Ediciones Cristiandad. Madrid, 2013) . Dice as\u00ed:<\/p>\n

\u2026\u2026\u2026.\u201cGradualmente se dio cuenta de que esta muchedumbre era como ninguna otra que hubiera visto. Para su sentido interno, parec\u00eda que presentaba una unidad mayor que cualquier otra. Notaba magnetismo en el aire. Algo as\u00ed como la sensaci\u00f3n de que estuviese en proceso un acto creativo, por el cual millares de c\u00e9lulas individuales estuvieran siendo amalgamadas m\u00e1s y m\u00e1s cada instante en un enorme ser sensitivo con voluntad, emoci\u00f3n y conciencia. El clamor de las voces parec\u00eda tener sentido tan solo como las reacciones del poder creativo que se expresaba a s\u00ed mismo.\u201d<\/p>\n

S\u00ed, esas muy pocas obras de arte aisladas del mundo; esas exiguas exposiciones cuya coherencia interna emite magnetismo, emociones y espiritualidad manifiesta; que ciertamente las hay, que pueden verse y disfrutarse; que ense\u00f1an coraje intelectual y muestran la audacia de sus organizadores y que son lo que ejemplarmente distingue a unos museos de otros, a unas instituciones de otras, a unos mecenas de otros, a unos comisarios de otros. Pero no es preciso eliminar de un brochazo todo lo que no alcanza la excelencia. Basta, y sobra, con no decir al mundo: mirad, mi obra, mi exposici\u00f3n es maravillosa, ejemplar y magn\u00edfica. En lugar de deplorar su extrema insuficiencia y pedir muy humildemente perd\u00f3n. Basta con un m\u00ednimo de prudencia, de modestia, de humildad ante un trabajo bien intencionado; sobra toda soberbia. Los grandes lo saben y practican. Los que no lo son, para nuestra desgracia, todav\u00eda lo ignoran. No nos dejemos confundir.<\/p>\n

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Gonzalo de DiegoThere are pictures that are worth for the entire exhibition. And are not always those we occasionally see, isolated, in museums; but there are exceptions to this rule, as when bring us home the “Innocent X<\/em>” by Vel\u00e1zquez. A few years ago that outrageous portrait temporarily visited the National Prado Museum. The problem, in such cases, is queuing or seeks recommendation to do it with peace of mind, especially if you live outside of Madrid. Or establishing a date and time… that comes down to five minutes! And being part of a group. They are the problems derived from the mass culture marketing.<\/p>\n

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\"InocencioX\"<\/p>\n

Portrait of Innocent X
\nOil on canvas,\u00a0140 x 120 cm.\u00a0Diego Vel\u00e1zquez, 1650.\u00a0Galleria Doria Pamphili. Roma (Italy)<\/h6>\n

You have a consolation travelling to Rome though, or take the chance during a trip there, to go along the Corso<\/em> until the number 305, very close to Piazza Venezia, and enter a passage relatively well signposted to the exceptional Palazzo Doria-Pamphili, which hosts the also known as Doria-Pamphili Gallery. There, a labour day and at a convenient time, let\u2019s say by noon, is for one the immense fortune to arrive, mostly solo, to the dressing room that houses it and which was purposed built in 19th<\/sup> century. There is the Innocent<\/em> X <\/em>(born Giovanni Battista Pamphili) by Vel\u00e1zquez, performed in the summer of 1650, in the only company of the bust executed by Bernini. And it is for one only, if you have that fortune. Nobody is going bothering you; No one will come to “push” so you’re done and you go. No one will tell you \u2018what an horror!\u2019 or that your 5 minutes have been completed. You can stay half an hour or longer and enjoy such an incredible fortune. You can meditate art as few times in life. And to this magnitude, the question: how to believe that a picture painter like this had not reached yet its summit? Of course he reached it! Finished the feast<\/em> and renewed internally by such creative illusion, after all, you hope to wake up the meditation and the dream of the time and back at the Corso only a good Osteria<\/em> or Trattoria<\/em> will be duly temper “around the world”, and if you have chosen good, your spirit comforted.<\/p>\n

Goya would visit such \u201cunique exhibition\u201d? Would the Aragonese see this marvel of portrait? I do not know it, but he must<\/em> have seen it; especially knowing Goya\u2019s admiration by his compatriot Diego Vel\u00e1zquez. And because there was Goya, in Rome of 1770, when he made his trip to Italy, in the manner of the good and applied European artist in his particular grand tour<\/em>. He has no more than 24 years. This means, according to the common law of that time, 26 years yet to suffer. But as he is a genetic prodigy, is remaining still, indeed, 58 years of thoughtful art.<\/p>\n

Writes Katharina Hegewisch “The art puts a mirror against the individual to whom appears the reflection of his nostalgia, of his problems, his troubles and utopias; Returns the private public and allows to live experiences by proxy. It functions as a seismograph that records the fluctuations of existence; it forces us to move, unlock, excites and provokes. “(l’Art de l’exposition<\/em>, Ed. Du Regard.)” Paris. 1998).<\/p>\n

So, today for little fan to fine arts we may be, all have visited exhibitions which were recorded in our retina and memory, and others that were quickly forgotten, fairly or unfairly. And Hegewisch added, “Each one receives the art differently. Knowing if an exhibition will be perceived as a temple, a hell or a fair, if it will be transformed in triumph or in financial fiasco, those are the elements on which not can influence but partially. Success is a relative concept, which for the organizer is defined differently that for the artist or the public.”<\/p>\n

As mentioned above, there are pictures that are worth for the entire exhibition, but perhaps as important, or more, is to know how to meet the artworks and give them and added value if even possible. It is a moral and intellectual added value that constitutes an inalienable right. I am referring to those curators with exhibit criteria that know how<\/em> to do it; they have that capacity, that noble virtue that makes them responsible for the content and shape of the exhibition, as well as the staging. Certainly there are them, by misfortune, whose grace<\/em> resides in countless places in the human body and that provide us with the misfortune to compose real clunkers, made based on good artworks or, even worse, rare mix of good and bad works. Yes, it is all a disgrace that some well-meaning but little capable patrons<\/em> entrusted awkwardly, to second-rate characters, tasks that rather than seek good examples end up becoming a canon for the reprehensible. In the best of cases, will be a sad waste of time and money, going straight to oblivion.<\/p>\n

We are involuntary witnesses of cases like this and regret the extreme insufficiency and how some have things completely upside down; as it should had never be done, or even attempted. And we wonder how can they think such folly to this genie<\/em>? But, where have the eyes? And we are not even consoled when knowing that this not only occurs with exhibitions, but also in cinema, theatre, in publishing and in so many other disciplines or acid striking situations.<\/p>\n

Returning to the Doria-Pamphili collection, since the 19th<\/sup> it has the dressing room built just to host the famous portrait of Vel\u00e1zquez and seems that from the 18th<\/sup> century there is in that well-deserving institution a document detailing precisely the placement that should have every picture, according to criteria of symmetry and stylistic affinity. It isn\u2019t bad, is it? But you cannot squeeze a rock, or set formulas to provide infallible methods. Free will, the lucky coincidence, the sense of proportion, the golden number, the trained eye, the spatial vision, knowledge of the artist and his work, the experience, symmetry, time, well directed vocation, assimilated knowledge, virtue of distinguishing, taste, the opportunity, the winks of intelligence, guidance, well toned senses, sense of smell, viewing, meditation on art, hearing, stylistic affinity, the lighting, the meaning of colour, shape and proportion, sensitivity, contour, moisture and even the magnetism… objectively and subjectively worth and are used simultaneously and successively by those who can and want to do it. And we could add more and more constraints presided over by the study and good education, but cited the magnetism, even though it may be taken out of context, allow me to highlight a paragraph that has touched me from the book “Lord of the World”, by Robert Hugh Benson (Christianity Editions. Madrid, 2013). It reads as follows:<\/p>\n

… “Gradually realized that this crowd was like no other that had seen. To his inner sense, it appeared presenting one greater than any other unit. I could feel the magnetism in the air. Something like the feeling that was in process a creative act, whereby thousands of individual cells were being amalgamated more and more every moment in a huge sensitive being with desire, emotion and consciousness. The voices cry seemed to make sense only as the reactions of the creative power that expressed to himself.”<\/p>\n

Yes indeed, those very few works of art cut off from the world; these meagre exhibitions whose internal coherence issues magnetism, emotions and manifest spirituality; that certainly are, that can be seen and enjoyed; that teach intellectual courage and show the audacity of its organizers and that are what exemplary distinguishes a few museums, institutions, patrons and organizers from others. But there is no need to remove with a stroke everything that does not reach excellence. It\u2019s enough and excess not saying to the world: look, my work, my exhibition is wonderful, magnificent and exemplary. Instead of deploring its extreme inadequacy and very humbly ask for forgiveness. It\u2019s enough with a minimum of prudence, modesty and humility before a well intentioned work; spare all pride. The greatest know and practice. Those who are not, to our misfortune, still ignore it. Let us not be confused.<\/p>\n

 <\/p>\n

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

Hay cuadros que valen por toda una exposici\u00f3n. Y que no siempre son los que en ocasiones vemos, aislados, en los museos; pero hay excepciones a esta regla, como cuando nos traen a casa el \u201cInocencio X\u201d de Vel\u00e1zquez. Hace unos pocos a\u00f1os, ese retrato inaudito visit\u00f3 temporalmente el Museo Nacional del Prado. El problema, […]<\/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":[],"class_list":["post-656","post","type-post","status-publish","format-standard","hentry","category-sin-categoria"],"_links":{"self":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/656","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=656"}],"version-history":[{"count":0,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/656\/revisions"}],"wp:attachment":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/media?parent=656"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/categories?post=656"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/tags?post=656"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}