{"id":683,"date":"2015-06-01T17:23:04","date_gmt":"2015-06-01T15:23:04","guid":{"rendered":"https:\/\/realgoya.com\/?p=683"},"modified":"2015-06-01T17:25:32","modified_gmt":"2015-06-01T15:25:32","slug":"imageneidea","status":"publish","type":"post","link":"https:\/\/realgoya.com\/en\/imageneidea\/","title":{"rendered":"Imagen e idea. Arte y sentimiento.Image and idea. Art and feeling."},"content":{"rendered":"

Tengo en mi biblioteca un Breviario<\/em> editado por el Fondo de Cultura Econ\u00f3mica, publicado en M\u00e9xico en 1957. Su autor, Herbert Read, trata de la funci\u00f3n del arte en el desarrollo de la conciencia humana. Un asunto que me llam\u00f3 la atenci\u00f3n en su momento y que pude adquirir en la m\u00edtica librer\u00eda y galer\u00eda de arte Libros<\/em>, de Zaragoza. Para m\u00ed, una joya de ensayo.<\/p>\n

Ya en el prefacio su autor cita a Cassirer. El arte, el mito, la religi\u00f3n, el conocimiento, \u201ctodos viven en mundos especiales de im\u00e1genes, que no s\u00f3lo reflejan lo emp\u00edricamente dado, sino que m\u00e1s bien lo producen de acuerdo con un principio independiente\u201d. Y a\u00f1ade Read que las im\u00e1genes, una vez creadas, son eternas o cuando menos duran mientras tengan agudeza sensorial. Pero mucho depende de nuestra habilidad para crearlas y de su resistencia, que es ciertamente lo que implicamos con la palabra \u201cprogreso\u201d en el mundo de las ideas, pero las aprehendemos en la contemplaci\u00f3n de las im\u00e1genes.<\/p>\n

En el genial universo de Goya hay un cuadro, \u201cLa \u00faltima comuni\u00f3n de san Jos\u00e9 de Calasanz<\/em>\u201d, que me sirve de ejemplo m\u00e1s que adecuado para reflexionar sobre la cuesti\u00f3n. Goya fue en su infancia alumno de las Escuelas P\u00edas, -fundadas por el santo Calasanz- y no cabe duda de que ser\u00eda indeleblemente se\u00f1alado en su esp\u00edritu por la figura y la obra del fundador. A esa pintura me remito: basta contemplarla con un poco de atenci\u00f3n y el espectador quedar\u00e1 atrapado completamente. Es obra de plena y absoluta madurez, de momento \u00e1lgido en la actividad creativa, de coincidencia en el tiempo con las famos\u00edsimas pinturas negras<\/em>. Y es sobre todo una pintura de complejidad formal, y demostrativa de la capacidad real para la creaci\u00f3n de im\u00e1genes con agudeza sensorial.<\/p>\n

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Ultima comuni\u00f3n de san Jos\u00e9 de Calasanz\u00a0<\/em><\/strong>Oleo \/ lienzo. 250 x 180 cm.\u00a0Francisco de Goya, 1819\u00a0Museo Calasancio. Madrid<\/h6>\n

Cuando ya en un momento decisivo de su vida, a avanzada edad y con gran experiencia y conocimiento recibe el encargo de pintar este cuadro, Goya se plantea en toda su extensi\u00f3n el asunto y alcanza a reflejar, con admirable vibraci\u00f3n, el muy notable cari\u00f1o que trasluce.<\/p>\n

El arte es el instrumento esencial en el desarrollo de la conciencia humana. Son palabras de Conrad Fiedler, cuya importancia como fil\u00f3sofo del arte llevan m\u00e1s de medio siglo de reconocimiento en su Alemania natal. Y la conciencia de Goya sobrepasaba con mucho el limitarse a intentar una interpretaci\u00f3n \u00fanicamente de devoci\u00f3n, ins\u00edpida y para salir del paso. Ante un encargo de envergadura (tanto por el tama\u00f1o del cuadro como por su destino para un altar mayor) Goya quiso y supo ser mas celeste y menos terreno, pues resulta evidente que Goya era un ser espiritual, lleno de afectos humanos y tambi\u00e9n superiores.<\/p>\n

No se trata por tanto de mostrar una ilusi\u00f3n, ni siquiera la ilusi\u00f3n de lo real, sino de representar la realidad de la conciencia misma, la realidad subjetiva. En las fronteras del yo el \u00e1rea de la conciencia no tiene l\u00edmites espaciales o temporales. Y a la manera de San Agust\u00edn en sus Confesiones<\/em>, Goya y su penetraci\u00f3n psicol\u00f3gica captan el problema impl\u00edcito en la tarea de hacer de la propia vida interior algo inteligible y cre\u00edble para otros hombres.<\/p>\n

Buen planteamiento, desde luego, para cumplimentar un encargo que sin la menor duda tanto le complac\u00eda, que le proporcion\u00f3 la gran alegr\u00eda de intentar hacer una pintura que lograrse ser espejo para otros, ser objeto de atenciones y ser \u00e9l mismo imitado y admirado y testigo para la posterioridad, ejemplo, modelo y elemento \u00fatil para otros seres sensibles. \u00bfY c\u00f3mo no serlo, c\u00f3mo no alegrase inmensamente si pudo llegar a ser la voz de quienes claman en silencio al coraz\u00f3n de todos? \u00bfC\u00f3mo no alegrase de poder transmitir sentimientos elevados? \u00bfde ser el veh\u00edculo elegido por los frailes que le educaron para ser \u00e9l, precisamente \u00e9l, el encargado de mostrar al mundo la sublime belleza de la verdad de un santo postrado en su totalidad ante la Eucarist\u00eda, precisamente en el d\u00eda de su muerte?. S\u00ed, la \u00faltima comuni\u00f3n de Calasanz antes de pasar a un estadio superior. De encontrar la paz \u00faltima y definitiva delante de todos aquellos a quienes m\u00e1s quer\u00eda en el mundo. Sus hermanos en la orden, sus alumnos y sus creencias m\u00e1s profundamente sentidas. A Goya se le ofrece transformar lo m\u00edstico en arte y para lograrlo va a presentar una faceta externa de la realidad interna de Calasanz.<\/p>\n

Goya logra salir airoso de semejante reto y consigue finalmente pintar este cuadro en el estado emocional que buscaba con tanto ah\u00ednco y traducir formalmente ese mundo interior del sentimiento. Un cuadro cuya imagen sigue hoy siendo eterna y resistiendo con la misma agudeza sensorial que en aquel lejano y decisivo 1819.<\/p>\n

 <\/p>\n

Gonzalo de Diego<\/p>\n

 I have in my library a Breviary<\/em>, edited by the Fondo de Cultura Econ\u00f3mica<\/em>, published in Mexico in 1957. Its author, Herbert Read, writes about the function of the art in the development of human consciousness. An issue that struck me at the time and that could acquire at the legendary library and gallery of art Libros<\/em> in Zaragoza. For me this is a gem of essay.<\/p>\n

In the preface the author mentions Cassirer. Art, myth, religion, knowledge, “all live in special worlds of images, which reflect not only the empirically given, but that rather they produce in accordance with an independent principle”. And Read adds the images, once created, are eternal -or at least they last as have sensory acuity-. But much depends on our ability to create them and their strength, which is certainly what we get involved with the word “progress” in the world of ideas, but we grasp them in the contemplation of the images.<\/p>\n

On the great universe of Goya is a painting, ‘The last communion of St. Jos\u00e9 de Calasanz’<\/em>, that I use as more than adequate sample to reflect on the question. Goya was in its infancy a student of the Escuelas P\u00edas<\/em> -founded by Saint Calasanz- and there’s no doubt that would be indelibly marked in his spirit by the figure and work of the founder. I refer to this painting: just look at it with some attention and the viewer will be caught completely. It is a work of full and absolute maturity, peak in the creative activity of coincidence in time with the very famous black paintings<\/em>. And it is especially a painting’s formal complexity, demonstrative of real capacity for the creation of images with sensory acuity.<\/p>\n

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Last communion of St. Jos\u00e9 de Calasanz\u00a0<\/em><\/strong>Oil on canvas.\u00a0\u00a0\u00a0\u00a0 250 x 180 cm.\u00a0Francisco de Goya, 1819\u00a0Calasancio Museum. Madrid, Spain<\/h6>\n

When already in a decisive moment of his life, with and advanced age and with great experience and knowledge receives commissioned to this painting, Goya raises in his entirety the matter and reaches to reflect, with admirable vibration, the very remarkable love that comes through.<\/p>\n

Art is the essential tool in the development of human consciousness. These are words of Conrad Fiedler, whose importance as a philosopher of art are more than a half century of recognition in his native Germany. And consciousness of Goya exceeded by far the limited to attempting an interpretation only of devotion, tasteless and out of step. A custom scale (both by the size of the painting and its destination for a high altar) Goya wanted and knew how to be more celestial and less earthly, because it is apparent that Goya was a spiritual, full of affection also superior and human being.<\/p>\n

It is not about showing an illusion, nor even the illusion of reality, but to represent the reality of the same consciousness, subjective reality. At the borders of the self conscious area have no spatial or temporal boundaries. And in the manner of St. Augustine in his Confessions<\/em>, Goya and his psychological penetration capture the issue implicit in the task of making own interior life something intelligible and credible to other men.<\/p>\n

Good approach, of course, to complete an assignment that, without doubt pleased him, that provided the great joy of trying to make a painting that achieved success being mirror to others, be the object of attention and be him imitated and admired, and witness to posterity, example, model and useful resource to other sentient beings. And how not to be so, how not get immensely happy if you could get to be the voice of those who cry out in silence at the heart of all? How not to feel happy to get to transmit high feelings? To be the vehicle chosen by the friars who raised him to be him, just him, commissioned to show to the world the sublime beauty of the truth of a Saint ridden in their entirety before the Eucharist, precisely on the day of his death? Yes, the last communion of Calasanz before moving on to a higher stage. To find the ultimate and definitive peace in front of all those to whom he loved in the world. His brothers in the order, his students and his most deeply felt beliefs. It is offered to Goya transform the mystical in art and to achieve this will present an outer facet of the internal reality of Calasanz.<\/p>\n

Goya achieves succeed of such challenge and gets finally paint this painting in the emotional state that sought so hard and formally translating that inner world of feeling. A painting which image continues today to be eternal and resisting with the same sensory acuity in that distant and decisive 1819.<\/p>\n

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

Tengo en mi biblioteca un Breviario editado por el Fondo de Cultura Econ\u00f3mica, publicado en M\u00e9xico en 1957. Su autor, Herbert Read, trata de la funci\u00f3n del arte en el desarrollo de la conciencia humana. Un asunto que me llam\u00f3 la atenci\u00f3n en su momento y que pude adquirir en la m\u00edtica librer\u00eda y galer\u00eda […]<\/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-683","post","type-post","status-publish","format-standard","hentry","category-sin-categoria"],"_links":{"self":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/683","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=683"}],"version-history":[{"count":0,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/posts\/683\/revisions"}],"wp:attachment":[{"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/media?parent=683"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/categories?post=683"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realgoya.com\/en\/wp-json\/wp\/v2\/tags?post=683"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}