Museo Universidad de Navarra
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- A guide and two untime chronicles to contemplate Rothko's work(SciencePG, 2018) Echarri-Iribarren, F. (Fernando); Varela, E. (Emilio)The experience offered by a museum to a visitor can have different nature and importance for everyone. Each artwork is perpetually sending a message to the viewer, possibly creating an art-person link. This link can provide experiences of great significant power to the visitor. The article below aims to delve into the facilitation of these experiences in the case of the paintings created by the artist Mark Rothko work (1903-1970). Their special characteristics mean that they can be called "Rothko experiences". As a result, a guide to viewing the work, based on the artist's recommendations, has been developed which can facilitate the emergence of these so-called "Rothko experience". Specifically, some of the multiple "realityaesthetical-art" connections experienced between Rothko's work and people whom observation incorporate an aesthetical and metaphysical dimension of reality are presented. To help in the understanding of these profound experiences and the aesthetical education of sensibility, the narrative method is used through two chronicles that gather the experiences lived by the authors in their contemplation of Rothko's work. These chronicles are examples that can help to understand the possibilities of Rothko's contemplative painting. The result is a synthetic study of Rothko work conceptualization, through one guide and the narrative dialectics between two "Rothko experiences" to show his aesthetical way of thinking, represented in his paintings.
- Tribute to Bach (1956): approximation to the Oteizian mural emptiness as a silent music score(2020) Echarri-Iribarren, F. (Fernando); Varela, E. (Emilio)The artist Jorge Oteiza (Orio, Spain, 1908-2003) is considered one of the main sculptors of the 20th century. Jorge Oteiza won the International Sculpture Prize at the IV São Paulo Biennial, held in 1957, which elevated him internationally. Oteiza's conceptual evolution as a sculptor moves him towards a special relationship with the unoccupied space, the void, seeking a metaphysics of space through absence or negativity, where light also plays a prominent role, being incorporated into the sculptural process. These ideas are concretized in the negative relief mural that he calls Direct Relief / Homage to Bach (1956). This exceptional work from the limited production of his mural works provides an interesting field of study that helps complete the understanding of his thinking and the keys to his aesthetics. Nevertheless, this work is not only close to a plastic-spatial dimension. The work also conveys the special relationship of the Oriotarra sculptor with music in general and Baroque in particular and his concern for serialist avant-garde music and its possibility of plastic representation. The present article tries to make an approach to the interpretation of this work, studying in an analytical and synthetic way the artistic, musical and plastic thought of the artist.
- The education of the penetrating gaze in Jorge Oteiza: nature, art and spirituality(2017) Echarri-Iribarren, F. (Fernando); Varela, E. (Emilio)Reality shown by nature gives us multiple messages. These messages communicate continuously with each individual thereby establishing a strong person-nature link. This link can be represented and studied via an artistic or creative act. This study shows some of the multiple connections established between nature and people, including the aesthetic and metaphysical dimensions of reality. As a syncretic example of a process nature-reality, aesthetic-art and spirituality-transcendence, the case of the sculptor Jorge Oteiza is outstanding in terms both of his life and work. The author studies the conceptualization of his work, in a synthetic way. through its connection to significant life experiences (SLE) with nature, expressed by his aesthetic thought and represented in his art.