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 l. a. generación del 27 (1920-1939) 17; Capítulo I: Entre el veintisiete y Juan Ramón: l. a. poesía pura y los angeles 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 l. a. 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 los angeles nostalgia de los angeles patria pictórica 85Segunda parte: A l. a. búsqueda de l. a. esencia de los angeles creación (1951-2005) ninety five; Capítulo VI: El "alma húmeda" de l. a. 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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Additional info for Agua y destino: Introducción a la estética de Ramón Gaya

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12 Introducción. Ramón Gaya, escritor desde el punto de vista del pensamiento abstracto, se le aparece como algo que no es. La estética, que constituye una rama de la filosofía, habla así del arte sin entender, anteponiendo conceptos y teorías en los que a duras penas encaja un fenómeno tan complejo. Es más que evidente que el pintor entiende la estética como filosofía del arte, en el sentido objetivo del genitivo. 27 Para Gaya, la estética nace de una “extravagante situación”, la de querer apresar filosóficamente el arte.

En segundo lugar, la exaltación y sobrevaloración del virtuosismo técnico y la concesión de una especial importancia al ingenio. 29 A esta primera formulación de la poesía pura es a la que Gaya denomina esteticismo, un término desde el que interpreta con tanto desdén los “excesos” poéticos del veintisiete. Lo creo así porque, como aún he de desarrollar, su estética se inclina por elementos y principios contrarios a los detallados, como la unión entre el arte y la vida, o la condena del virtuosismo, el preciosismo y la técnica.

La crítica habría aparecido entonces para desempeñar ese papel y para favorecer, subsidiariamente, el desarrollo natural de la recién conquistada soberanía artística. Visto así, la crítica de arte ha de nacer, necesariamente, después que el arte, lo cual vuelve dudoso el reproche de Gaya. Me parece razonable decir, en consecuencia, que acudir a cuestiones de prioridad histórica no resulta satisfactorio para desprestigiar esta u otra actividad.  31.  11. Dorf les, Gillo: Il divenire della critica, Giulio Einaudi editore, Torino, 1976.

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