Abstract

RESUMEN:

En los sonetos “Al pincel” y “A la pintura”, recogidos en su poemario homónimo de 1945, Rafael Alberti parte de la idea barroca del arte pictórico expresada ejemplarmente en la silva “El pincel” de Francisco de Quevedo (c. 1625) y reelabora sobre sus conceptos centrales: por un lado, el carácter heroico de la pintura y, por otro, la idea de su ilimitada capacidad de representación. Alberti pone este material al servicio de su poética del arte pictórico, en la que las constantes del tiempo y de la muerte quedan fuera del texto. El resultado es una nueva poesía que identifica la pintura con creación que supera la mímesis clásica, dejando campo libre a la imaginación del artista, así como con vida, mediante la utilización de un lenguaje poético altamente plástico que, en sí mismo, constituye un rechazo al estancamiento percibido por el poeta en el ambiente cultural de la España de posguerra.

ABSTRACT:

In the sonnets “Al pincel” and “A la pintura,” from his 1945 homonymous book of poems, Rafael Alberti takes as his starting point the Baroque idea of pictorial art as expressed in Francisco de Quevedo’s silva “El pincel” (ca. 1625). He does this by elaborating on its two central concepts: on the one hand, the heroic nature of painting, and on the other, its unlimited capacity for representation. Alberti puts this material at the service of his own poetics, in which the constants of time and death remain outside the text. The result is a new poetry that identifies painting with creation, which can overcome mimesis by giving free rein to the artist’s imagination. Likewise, painting is also associated with life, by means of a highly plastic poetic language, which in itself constitutes a rejection of the stagnation perceived by the poet in the cultural atmosphere of post-Civil War Spain.

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Additional Information

ISSN
1553-0639
Print ISSN
0018-2176
Pages
pp. 253-271
Launched on MUSE
2016-07-25
Open Access
No
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