Publication: Haya un panorama de ojos abiertos : revisión historiográfica de Equipo Crónica (1964-1981)
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2024-01-25
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Universidad Complutense de Madrid
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Abstract
El objeto de esta tesis doctoral es el valenciano Equipo Crónica (1964-1981). Aunque es muy conocido por la historia del arte español (gracias a Tomàs Llorens, Valeriano Bozal, Anne-Michèle Dalmace, Ricardo Marín, Caroline Kesser, José Carlos Suárez, entre otros), a medida que profundizamos en su trayectoria nos percatamos deque aún quedaban interrogantes por descifrar. Formado por Rafael Solbes Solbes (1940-1981), Manuel Valdés Blasco (1942- ) y Joan Antoni Toledo Mansanet (1940-1995), éste último tan sólo durante el primer año, Equipo Crónica fue uno de los colectivos artísticos de más larga duración de las artes plásticas españolas. Su obra está compuesta por más de 650 pinturas y dibujos reunidos en veinte series, más de 100 serigrafías y 28 múltiples, entre otras obras. A finales de 1965, el historiador Mario de Micheli tomó el verso “Haya un panorama de ojos abiertos” de Federico García Lorca para tratar la obra de Equipo Crónica (Ciudad sin sueño. Nocturno del Brooklyn Bridge, 1929-30), sintetizando una cuestión principal de la misma: el impulso ideológico que movió su construcción. Equipo Crónica profesó un actitud realista frente al auge del Informalismo imperante en la década anterior. Se influenció de la cultura de masas y el Pop Art, así como de otras corrientes artísticas (Figuración Narrativa, Nuevo Realismo, Nueva Figuración). Fue uno de los primeros discursos críticos con la dictadura franquista desde el campo dela pintura, constituyéndose progresivamente en uno más de los portavoces de la oposición, desvelando los mecanismos de manipulación mediática del régimen subvirtiendo los símbolos e iconos que el mismo utilizaba...
The aim of this doctoral thesis is the Valencian artistic group Equipo Crónica (1964-1981). Although it is well known by the Spanish art history (thanks to art historians like Tomàs Llorens, Valeriano Bozal, Anne-Michèle Dalmace, Ricardo Marín, Caroline Kesser, José Carlos Suárez, among others), as we study its career we realize that there are still questions to be unraveled.Composed by Rafael Solbes Solbes (1940-1981), Manuel Valdés Blasco (1942-) and Joan Antoni Toledo Mansanet (1940-1995), the latter only during the first year, Equipo Crónica was one of the longest-lasting artistic groups of the Spanish art. Its work consists of more than 650 paintings and drawings gathered in twenty series, more than 100 serigraphs and 28 multiple sculptures, among other works. At the end of 1965, the historian Mario de Micheli took Federico García Lorca’s verse “Let there be a panorama of open eyes” to treat the work of Equipo Crónica (Sleepness City. Brooklyn Bridge Nocturne, 1929-30), synthesizing one of the main question of this artistic group: the ideological impulse that moved its construction. Equipo Crónica professed a realistic attitude towards the rise of Informalism that had prevailed in the previous decade (the fifties). It was influenced by mass culture and Pop Art, as well as other artistic movements (Figuration Narrative, New Realism, New Figuration). It was one of the first critical speeches against the Franquismo, from the field of painting, progressively becoming a relevant voice of the Franquismo’s opposition, revealing the mechanisms of media manipulation of the regime and, subverting the symbols and icons that it used...
The aim of this doctoral thesis is the Valencian artistic group Equipo Crónica (1964-1981). Although it is well known by the Spanish art history (thanks to art historians like Tomàs Llorens, Valeriano Bozal, Anne-Michèle Dalmace, Ricardo Marín, Caroline Kesser, José Carlos Suárez, among others), as we study its career we realize that there are still questions to be unraveled.Composed by Rafael Solbes Solbes (1940-1981), Manuel Valdés Blasco (1942-) and Joan Antoni Toledo Mansanet (1940-1995), the latter only during the first year, Equipo Crónica was one of the longest-lasting artistic groups of the Spanish art. Its work consists of more than 650 paintings and drawings gathered in twenty series, more than 100 serigraphs and 28 multiple sculptures, among other works. At the end of 1965, the historian Mario de Micheli took Federico García Lorca’s verse “Let there be a panorama of open eyes” to treat the work of Equipo Crónica (Sleepness City. Brooklyn Bridge Nocturne, 1929-30), synthesizing one of the main question of this artistic group: the ideological impulse that moved its construction. Equipo Crónica professed a realistic attitude towards the rise of Informalism that had prevailed in the previous decade (the fifties). It was influenced by mass culture and Pop Art, as well as other artistic movements (Figuration Narrative, New Realism, New Figuration). It was one of the first critical speeches against the Franquismo, from the field of painting, progressively becoming a relevant voice of the Franquismo’s opposition, revealing the mechanisms of media manipulation of the regime and, subverting the symbols and icons that it used...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 01-06-2023