El retrato en la docencia de las bellas artes
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Universidad Complutense de Madrid
info
ISSN: 2254-8319
Year of publication: 2019
Issue: 8
Pages: 74-81
Type: Article
More publications in: ArDIn: Arte Diseño Ingeniería
Abstract
Focusing on the portrait from a pictorial point of view, its execution does not consist in making only a physical inventory, since the physical must be the vehicle that makes us penetrate the portrayed. In relation to the teaching of this genre from painting, althoughwe can say that there are as many ways to perform a portrait as painters exist, in the stage of formation it is necessary to channel the student through certain work patterns, ranging from the realization of exercises which we could call synthesis, to pass later to an opening of surfaces in which the study of the physiognomy, as well as the brushstroke, becomes more relevant.
Bibliographic References
- D´ors, Eugenio: «Notes about portrait and self-portrait», Catalog of the exhibition of Self-portrait of Spanish Painters 1800-1843, (Notas sobre el retrato y el autorretrato, Catálogo de la Exposición de Autorretratos de Pintores Españoles 1800-1843), National Museum of Modern Art, Madrid, 1943, p. 19
- Vollard, Ambroise. Portraits: from Cézanne to Picasso, (Retratos: de Cézanne a Picasso), Casimiro Editorial, Madrid, 2014.
- Pérez de Ayala, Ramón: “Sorolla”. The Press. Buenos Aires, 7th October of 1923. Ramón Pérez de Ayala and plastic arts, p. 245.
- Rincón García, W (1991): The self-portrait in spanish painting. From Goya to Picasso. (El autorretrato en la Pintura Española. De Goya a Picasso), Madrid, Mapfre Vida Cultural Foundation.
- Vollard, A (2014): Portraits: from Cézanne to Picasso, (Retratos: de Cézanne a Picasso), Madrid, Casimiro books.