Ilusionismo y desmitificación en la pintura realista modernadesarrollo de la estética imitativa desde el siglo XIX hasta la actualidad

Résumé

In this research We intend to analyze the language of modernist realism, as well as the evolution of this language from the last third of the 19th century to present. It is, therefore, a research that contemplates two study lines that, although they coincide in some of their points, are complementary and can be differentiated. On the one hand, I will focus, from a general point of view, on the theoretical foundations that characterize this type of language. On the other hand, and raising the question from a historical or, more specifically, evolutionary point of view, we will establish a sort of genealogy that accounts for the most notorious findings and turning points of a certain period of painting history. This period begins with the appearance of the modernist painting, through the realistic and impressionist movements, and ends in the proposals that are currently being developed in this way. The research methods are adapted to the two perspectives that make up this work. In the first one, concerning questions related to the language of illusionistic realism, theoretical deepening will be central. The second one, involving the evolution of this language, will be focused on comparative analysis between some representative works. Regarding the first branch of analysis, it can be said that the problems being analyzed converge on the question of illusionism. This is a term which, at least within the semantic field of our research, summarizes the particularities of a kind of painting that is substantially different from other imitative pictorial exercises, whether belonging to the tradition or being inserted in the modernist and postmodernist artistic periods. We can relate the term illusionism with how Painting recreates, from its limited two-dimensional condition, a fragment of apparent reality. Such reality will generally remind us of the visual experience of an empirical subject. By doing so, we expose the viewer to the rudiments with which the artist has constructed this recreation. This proposes, along the same lines as the aesthetic values of formalist modernity, a level of meaning that is added to the experience of realistic reception, as rhetoric does in verbal language, making the viewer participate not only in what the represented contents denote, but also of its imitative mechanisms. The connotations of this layer will be fundamental to displaying several examples from 20th and 21st century realism into evolutionary perspective in order to establish, through the most significant stylistic changes, an itinerary that connects the realism of the last third of the 19th century with the realistic painting that is developing today. If the term "illusionism" corresponds to the first branchof study, aimed at establishing the main foundations of this kind of painting, much of what concerns this second way, aimed at radiographing the evolution of pictorialist realism, has to do with the concept of demystification. By means of it, we intend to encompass certain attitudes and ways of representation that, even though they are already pointed out in the realistic and impressionist painting of the 19th century, are mutating as pictorialist realism develops. This means that certain practices become typical of its periods and allow us, therefore, to arrange the examples in a kind of genealogy that can be useful to clarify what may remain of the previous illusionist realism in today's painting