Cuadros de fusilamientos, ss. XX-XXI. De la mímesis al fantasma.

  1. Mariano De Blas Ortega 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Journal:
Revista de Bellas Artes: Revista de Artes Plásticas, Estética, Diseño e Imágen

ISSN: 1695-761X

Year of publication: 2021

Issue: 15

Pages: 11-32

Type: Article

DOI: 10.25145/J.BBAA.2021.15.01 DIALNET GOOGLE SCHOLAR lock_openRIULL editor

More publications in: Revista de Bellas Artes: Revista de Artes Plásticas, Estética, Diseño e Imágen

Abstract

This is a study of several visual works under the theme of shooting and war as a drama and as a brutalizing element that begins Goya with his Third of May 1808. The common thread is the mimesis of the formal elements in different arguments and artistic presentations located in the xx and xxi centuries. One stream maintains a formal relationship of rows of executioners and victims and another starts with the Guernica who only takes from the Third of May some formal elements while the executioners are a reference and the victims are bombed and not shot. These two currents are maintained in the paradigmatic examples studied under different artists, means and approaches, going from imitation to the concept of copying as a culmination of mimesis. Finally, the artist Ballester empties the reference paintings of their figures that only reappear as ghosts in the memory of the look

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Data source: Dialnet