{"id":1723,"date":"2021-11-26T07:00:00","date_gmt":"2021-11-26T06:00:00","guid":{"rendered":"https:\/\/cieib.es\/?p=1723"},"modified":"2021-11-17T14:27:53","modified_gmt":"2021-11-17T13:27:53","slug":"matisse-i-la-petanca","status":"publish","type":"post","link":"https:\/\/cieib.es\/?p=1723","title":{"rendered":"Matisse i la petanca"},"content":{"rendered":"\n

Els manuals d’hist\u00f2ria de l’art situen el naixement del cubisme<\/strong> -moviment determinant de la hist\u00f2ria de l’art contemporani- el 1907<\/strong>. I ho fa a inst\u00e0ncies de les Les demoiselles d’Avignon<\/strong> (Les senyoretes del carrer d’Aviny\u00f3), del malagueny Pablo Ru\u00edz Picasso<\/strong> (M\u00e0laga, 1881-Fran\u00e7a, 1973). El quadre marc\u00e0 el comen\u00e7ament del Per\u00edode afric\u00e0 o Protocubista<\/strong> de l’artista, trencant amb el Realisme<\/strong>, els c\u00e0nons de la profunditat espacial i la idea fins a llavors imperant del cos femen\u00ed<\/strong>. La seva reducci\u00f3 a un conjunt de pl\u00e0nols angulars sense fons ni perspectiva espacial, substitu\u00efts per marcades l\u00ednies de gruixat tra\u00e7at, fan de l’obra una fita trascendental per interpretar el devenir de l’art tal com el coneixem. Entre les moltes conseq\u00fc\u00e8ncies d’aquesta obra, avui treurem a col\u00b7laci\u00f3 la repercusi\u00f3 que va tenir en l’obra de Henri Matisse<\/strong> (Fran\u00e7a, 1869-1954). Es diu que la rivalitat<\/strong> entre ambd\u00f3s artistes fou el motor que acceler\u00e0 la hist\u00f2ria de l’art a partir d’aquell moemtn. Estudiosos en la referida rivalitat han reivindicat Jeux de boules<\/strong> (El Joc de la Petanca) com la contestaci\u00f3 de Matisse<\/strong> a les senyoretes del carrer d’Aviny\u00f3 [de Barcelona<\/strong>]. Es tracta d’una obra amb un paisatge -exterior, per contra de l’interior de Picasso- despullat, amb una r\u00edtmica formal<\/strong> molt marcada -l\u00ednies longitudinals refor\u00e7ades per diverses tonalitats col\u00f2riques-, on hi s\u00f3n sobreposades tres figures masculines<\/strong> -discretament- despullades que juguen a la petanca<\/strong> -tres figures, tres bolles, cap anatom\u00eda masculina a la vista- Els rostres dels personatges no amaguen res. Els seus s\u00f3n buits, per contra dels rostres de les professionals de l’amor picassianes<\/strong>. Aquesta i no una altra obra del franc\u00e8s, ha sigut interpretada com l’Alfa en el full de ruta que seguiria a partir de llavors Matisse per a la seva futura obra. Curiositat: la referida rivalitat entre els dos artistes, suscit\u00e0 les seg\u00fcents frases proferides per un i altre artista, no exemptes de sornegueria i fina ironia. Picasso va dir del franc\u00e8s: \u00abNom\u00e9s existeix Matisse\u00bb, mentre que el franc\u00e8s va dir del malagueny: \u00abNom\u00e9s Picasso em pot criticar\u00bb. (CIEIB)<\/p>\n\n\n\n

\"\"
Llen\u00e7 de Matisse<\/strong> titulat Jeux de boules<\/strong> (1908)<\/figcaption><\/figure><\/div>\n\n\n\n
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Les Demoiselles d’Avingnon<\/strong>, de Picasso (1907)<\/figcaption><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"

Els manuals d’hist\u00f2ria de l’art situen el naixement del cubisme -moviment determinant de la hist\u00f2ria de l’art contemporani- el 1907. I ho fa a inst\u00e0ncies de les Les demoiselles d’Avignon (Les senyoretes del carrer d’Aviny\u00f3), del malagueny Pablo Ru\u00edz Picasso (M\u00e0laga, 1881-Fran\u00e7a, 1973). El quadre marc\u00e0 el comen\u00e7ament del Per\u00edode afric\u00e0 o Protocubista de l’artista,<\/p>\n

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