{"id":1754,"date":"2021-12-03T07:00:00","date_gmt":"2021-12-03T06:00:00","guid":{"rendered":"https:\/\/cieib.es\/?p=1754"},"modified":"2021-11-18T13:39:25","modified_gmt":"2021-11-18T12:39:25","slug":"edgar-degas-i-les-curses-de-cavalls","status":"publish","type":"post","link":"https:\/\/cieib.es\/?p=1754","title":{"rendered":"Edgar Degas i les curses de cavalls"},"content":{"rendered":"

Fill d\u2019una acomodada fam\u00edlia parisina, Edgar Degas<\/strong> (Par\u00eds, 1834-1917), el 1856 pren una determinaci\u00f3 que suposar\u00e0 un dr\u00e0stic canvi en la seva acomodada vida: deixar\u00e0 per uns mesos la carrera de dret per dedicar-se a la seva gran passi\u00f3, l\u2019art<\/strong>. Entre aquell any i 1859 viatj\u00e0 per It\u00e0lia<\/strong> descobrint als mestres renaixentistes per tornar a Par\u00eds<\/strong> i desenvolupar la seva carrera com a artista. Un dels seus temes pel qual \u00e9s conegut s\u00f3n els cavalls<\/strong>, i especialment, les curses de cavalls<\/strong>, una activitat molt popular en la Fran\u00e7a<\/strong> del moment. Gr\u00e0cies a les curses, Degas trob\u00e0 noves possibilitats d\u2019endinsar-se en l\u2019estudi de les formes<\/strong>, moviments<\/strong> i brillant cromatisme<\/strong>. Destacat colorista<\/strong>, fa \u00fas tant de la pintura a l\u2019oli<\/strong> com tamb\u00e9 del pastel<\/strong> que li permet capturar millor el moviment i la fugacitat<\/strong> del cavall i genet. Incorpor\u00e0 a m\u00e9s, noves composicions i iconografia a un recurs, les curses de cavalls, que artistes de la talla de Delacroix<\/strong>, havien incorporat en la seva imatgeria. Degas sab\u00e9 destil\u00b7lar les influ\u00e8ncies de Ingres<\/strong>, pel que fa a la figura humana, i al gravat japon\u00e8s<\/strong> en la composici\u00f3 de les seves escenes. L’obra que prendrem avui en consideraci\u00f3 du per t\u00edtol Cursa de cavalls. Abans de la sortida<\/strong> (1862). Ens trobam davant una composici\u00f3 on s’hi distingueixen tres plans longitudinals transversals. En primer terme els cavalls i respectius genets preparats per a l’inici de la cursa. En un segon i tercer terme, el p\u00fablic que ha acudit a les esmentades curses i gr\u00e0cies a la perspectiva, apreciam que es tracta de les afores d’una ciutat industrial, possiblement Par\u00eds<\/strong>. La gama crom\u00e0tica -un dels trets identitaris de de l’artista- va dels m\u00e9s vius i diversos en un primer pla als m\u00e9s apagats i difosos del paisatge. Hi domina un blanc trencat de gris<\/strong> del cel. Ignoram si per la poca llum del dia nuvolat o pel fum de les fumeroles de les f\u00e0briques que hi intuim en el marge superior dret. Ja sabem id\u00f2, que si volem con\u00e8ixer com eren aquelles curses de cavalls a Europa a principis del segle XX<\/strong>, l\u2019obra de Degas \u00e9s un excel\u00b7lent aparador per aprendre de primera m\u00e0 el seu desenvolupament, extensi\u00f3 i est\u00e8tica de la fugacitat i trepidant rapidesa del m\u00f3n de les curses i de tot all\u00f2 que les envolta. (CIEIB)<\/p>\n\n\n

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Cursa de cavalls. Abans de la sortida<\/strong> (1862) d\u2019Edgar Degas<\/strong>. Pastel damunt paper. Museu d\u2019Orsai. (Wikipedia)<\/figcaption><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"

Fill d\u2019una acomodada fam\u00edlia parisina, Edgar Degas (Par\u00eds, 1834-1917), el 1856 pren una determinaci\u00f3 que suposar\u00e0 un dr\u00e0stic canvi en la seva acomodada vida: deixar\u00e0 per uns mesos la carrera de dret per dedicar-se a la seva gran passi\u00f3, l\u2019art. Entre aquell any i 1859 viatj\u00e0 per It\u00e0lia descobrint als mestres renaixentistes per tornar a<\/p>\n

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