La tesis se encuentra publicada en la colección digital de tesis de la UCM (Universidad Complutense de Madrid) http://eprints.ucm.es/
Esta tesis doctoral es el resultado de toda la investigación, estudio y búsqueda, tanto a nivel teórico como práctico, de las obras equinas Picassianas. Hemos intentado mostrar la gran diversidad de obras del artista referidas al tema del caballo.
El trabajo lo hemos dividido en dos apartados fundamentales, un apartado de fundamentación teórica que ocupa desde el capítulo II al capítulo VIII y otra parte dedicada a la recopilación de obras en las que el equino es protagonista en la extensa obra de Picasso, y que ocupa el capítulo IX. En el apartado de fundamentación teórica, hemos tratado de realizar un repaso por los diferentes aspectos y cuestiones que entroncan directamente su obra con los equinos. También hemos analizado la figura de los asnos, mulos y burros que, aún no perteneciendo a la misma familia de los equinos sino a la de los équidos, hemos creído de gran interés introducirlos en este trabajo de investigación por la amplia información de obras encontradas.
Por los datos extraídos del propio trabajo de investigación desarrollado, el análisis de las obras catalogadas y el de la realidad del artista que permanece vivo en la memoria aún en nuestra sociedad artística, constatamos el hecho de que Picasso utilizó la figura del caballo jugando siempre con dobles sentidos y dándole al equino un rol más allá de lo animal. Lo convierte en mediador artístico en sus obras y le otorga un protagonismo y simbología muy diferente al realizado por otros artistas anteriormente.
Aunque existen multitud de referencias bibliográficas sobre Picasso y su obra, no hemos encontrado documentación específica que se dedique a desarrollar el mismo tema de investigación que hemos realizado. Cabe, no obstante, aplicar una excepción con las obras “Crucifixión”, “Sueño y Mentira de Franco”, “Guernica” y “El rapto de las Sabinas”, en las que si se hallaron referencias bibliográficas que analizan la figura de esos caballos. Por tanto, hemos tomado como principal referente para la investigación, las propias obras de Picasso en las que aparece la figura del equino así como los libros escritos por sus amistades (Helen Parmelin, Gertrude Stein, Arianna Stassinopoulos…) y sus sucesivas compañeras (Fernande Olivier, Françoise Gilot…). Hemos recurrido al análisis pormenorizado de las obras, apoyando las afirmaciones emitidas en toda la bibliografía consultada y el análisis de los contextos histórico, social y personal que marcaron el proceso creativo del artista.
Esperamos que nuestro trabajo sea una aportación enriquecedora a la actual realidad de la representación equina, y que pueda servir como posible ventana abierta a futuros trabajos.
The thesis is published in the digital collection of theses of UCM (Universidad Complutense de Madrid) http://eprints.ucm.es/
This dissertation is the result of all the research, study and research, both theoretical and practical, of equine Picasso works. We tried to show the diversity of the artist's suggestions under the horse.
The work we have divided into two fundamental, a theoretical section which occupies from Chapter II to Chapter VIII and part dedicated to the collection of works in which the horse is the protagonist in the extensive work of Picasso, occupying Chapter IX. In the theoretical section, we have tried to make a review of the various aspects and issues that connect directly to his work with horses. We have also analyzed the shape of donkeys, mules and donkeys that still belong to the same family of horses but to the horses, we thought of great interest to introduce in this research for the extensive information found works.
For the data taken from the research work developed, the analysis of the works cataloged and the reality of the artist who remains alive in memory even art in our society, we find that Picasso used the figure of the horse always playing with double meanings and giving the horse a role beyond the animal. The mediator becomes art in his works and gives it a very different role and symbolism to previously performed by other artists.
Although there are many references on Picasso and his work, we found no specific documentation that is dedicated to developing the same issue we investigated. It is, however, an exception apply to works "Crucifixion", "Dream and Lie of Franco", "Guernica" and "The Rape of the Sabine Women", which if found references that analyze the figure of those horses . We have therefore taken as the main reference for research, Picasso's own works in which the figure of the horse and the books written by his friends (Helen Parmelin, Gertrude Stein, Arianna Stassinopoulos ...) and subsequent partners (Fernande Olivier, Francoise Gilot ...). We used a detailed analysis of the works, issued statements supporting throughout the literature and analysis of historical contexts, social and personal that marked the artist's creative process.We hope that our work is a contribution to enriching the current reality of the equine representation, and can serve as a possible window into future work.
This dissertation is the result of all the research, study and research, both theoretical and practical, of equine Picasso works. We tried to show the diversity of the artist's suggestions under the horse.
The work we have divided into two fundamental, a theoretical section which occupies from Chapter II to Chapter VIII and part dedicated to the collection of works in which the horse is the protagonist in the extensive work of Picasso, occupying Chapter IX. In the theoretical section, we have tried to make a review of the various aspects and issues that connect directly to his work with horses. We have also analyzed the shape of donkeys, mules and donkeys that still belong to the same family of horses but to the horses, we thought of great interest to introduce in this research for the extensive information found works.
For the data taken from the research work developed, the analysis of the works cataloged and the reality of the artist who remains alive in memory even art in our society, we find that Picasso used the figure of the horse always playing with double meanings and giving the horse a role beyond the animal. The mediator becomes art in his works and gives it a very different role and symbolism to previously performed by other artists.
Although there are many references on Picasso and his work, we found no specific documentation that is dedicated to developing the same issue we investigated. It is, however, an exception apply to works "Crucifixion", "Dream and Lie of Franco", "Guernica" and "The Rape of the Sabine Women", which if found references that analyze the figure of those horses . We have therefore taken as the main reference for research, Picasso's own works in which the figure of the horse and the books written by his friends (Helen Parmelin, Gertrude Stein, Arianna Stassinopoulos ...) and subsequent partners (Fernande Olivier, Francoise Gilot ...). We used a detailed analysis of the works, issued statements supporting throughout the literature and analysis of historical contexts, social and personal that marked the artist's creative process.We hope that our work is a contribution to enriching the current reality of the equine representation, and can serve as a possible window into future work.
PDF EQUINOS PICASSIANOS
