{"id":2921,"date":"2023-11-09T06:00:00","date_gmt":"2023-11-09T05:00:00","guid":{"rendered":"https:\/\/cieib.es\/?p=2921"},"modified":"2023-11-08T11:49:23","modified_gmt":"2023-11-08T10:49:23","slug":"goya-patinatge-i-ciclisme","status":"publish","type":"post","link":"https:\/\/cieib.es\/?p=2921","title":{"rendered":"Patinatge i ciclisme en Goya"},"content":{"rendered":"\n

Considerat com el darrer dels pintors antics i el primer dels pintors moderns<\/strong>, Francisco de Goya y Lucientes (Fuendetodos, 1746-Bordeaux, 1828) fou un somiador<\/strong> i un atent observador<\/strong> de la seva realitat a parts iguals.<\/p>\n\n\n\n

Del darrer per\u00edode de l’artista -\u00faltims anys de vida autoexiliat a Burdeus<\/strong>, entre 1824 i 1828<\/strong>– en s\u00f3n dos quaderns d’apunts, coneguts com Quadern G o Bordeus I<\/strong>, i Quadern H o Bordeus II<\/strong>. Dins aquest \u00faltim hi trobarem un dibuix for\u00e7a interessant pel tema que avui ens ocupa.<\/p>\n\n\n\n

\u00c9s molt probable que treball\u00e9s en tots dos quaderns de forma simult\u00e0nia. Els dibuixos s\u00f3n el gruix de la seva producci\u00f3 art\u00edstica en aquests darrers anys de la seva vida. Un c\u00e0lcul aproximat de la seva producci\u00f3, ens diu que f\u00e9u m\u00e9s de 900 dibuixos<\/strong> al llarg de la seva vida. Altrament, \u00e9s molt probable que fes aquests dibuixos per tal de convertir-los despr\u00e9s en gravats: va abandonar l’aiguada per fer servir el llapis gras, una t\u00e8cnica m\u00e9s apropiada per a unes litografies<\/strong> que cultiv\u00e0 precisament a Bordeus, per\u00f2 que en aquest cas mai va arribar a fer.<\/p>\n\n\n\n

En la p\u00e0gina 32<\/strong> del primer dels quaderns bordalesos, hi trobam un dibuix titulat Locos patines<\/strong>. Possiblement elaborat entre 1825<\/strong> i 1828<\/strong>, fou traslladat per Goya al paper amb llapis negre gras i fa 192 x 152 mm. Dit quadern es forma part actualment del Museum of Fine arts<\/strong>, de Boston<\/strong> (EUA).<\/p>\n\n\n\n

El quadern repeteix els grans assumptes<\/strong> de la carrera del pintor: la falsedat humana<\/strong>, la desigualtat<\/strong>, la mis\u00e8ria<\/strong>, la irracionalitat<\/strong>, la viol\u00e8ncia<\/strong> de l’individu i la societat i la bogeria<\/strong>. La major part dels dibuixos contenen t\u00edtols aut\u00f2grafs a manera de t\u00edtol com en el cas que ens ocupa.<\/p>\n\n\n\n

Com b\u00e9 el descriu Robert Hughes<\/strong>, principal divulgador de l’obra goyesca, s\u00f3n imatge que Goya va veure del dia a dia a Fran\u00e7a<\/strong> com \u00e9s aquest \u00abpatinador trontollant-se i el veloc\u00edpedista de tra\u00e7os m\u00e9s fins que es distingeix darrer d’ell<\/strong>\u00ab. Si observam el personatge del primer terme i que d\u00f3na nom al dibuix, veurem un home de mitjana edat caig no caig<\/strong> sobre uns patins de rodes<\/strong>. Per la cara d’espant, deduim que si no va caure en aquella ocasi\u00f3, ho faria ben aviat.<\/p>\n\n\n\n

El primer pat\u00ed sobre rodes patentat va ser introdu\u00eft el 1760<\/strong> per l’inventor belga John Joseph Merlin<\/strong>, el seu invent no era m\u00e9s que un pat\u00ed sobre gel amb rodes en lloc d’una ganiveta. En ser molt rudimentaris era molt dif\u00edcil frenar i accelerar. Per aix\u00f2 no van arribar a ser molt populars. La dotaci\u00f3 de pastilles de fre en la part davantera, f\u00e9u que l’invent es popularitz\u00e9s dins del segle XX<\/strong> arreu del m\u00f3n.<\/p>\n\n\n\n

Goya utilitza la perspectiva per introduir un segon personatge<\/strong> en un segon terme: un home dalt d’un veloc\u00edpede<\/strong> que vol desapar\u00e9ixer de l’escena per la part superior dreta. Hem d’interpretar-lo en moviment rectilini. Del segon personatge no li podem veure la cara ja que est\u00e0 oculta rera la m\u00e0 del patinador. No podem saber id\u00f2, si la seva \u00e9s tamb\u00e9 una expressi\u00f3 d’espant o a difer\u00e8ncia del personatge en primer terme, de m\u00e9s seguretat i tranquil\u00b7litat.<\/p>\n\n\n\n

Com ja hem vist en anteriors entrades, el terme veloc\u00edpede -peus r\u00e0pids, en llat\u00ed- va ser encunyat pel franc\u00e8s Nic\u00e9phore Ni\u00e9pce<\/strong> el 1818<\/strong> per descriure la seva versi\u00f3 del Laufmaschine, que va ser inventat per l’alemany Karl Drais<\/strong> el 1817. No obstant aix\u00f2, el terme \u00abveloc\u00edpede\u00bb avui dia, s’utilitza principalment com un terme col\u00b7lectiu per als precursors de les diferents monocicle, la bicicleta, el birroda, el tricicle i el quadricicle desenvolupat entre 1817 i 1880.<\/p>\n\n\n\n

Tornant a la il\u00b7lustraci\u00f3 de Goya<\/strong>, no descartam que el t\u00edtol (Locos patines) \u00e9s refer\u00eds a m\u00e9s de manera gen\u00e8rica tamb\u00e9 al veloc\u00edpede, el cap i a la fi, un pat\u00ed sobre rodes en el qual el menador s’hi asseu en comptes d’anar dret, i que era, un invent encara m\u00e9s recent que el pat\u00ed de rodes. En tot cas, es tracta d’un exemple perfecte de la transcripci\u00f3 de la realitat que envolt\u00e0 l’artista aragon\u00e8s al llarg de la seva vida. (CIEIB)<\/p>\n\n\n

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Dibuix a llapias gras fet per Francisco de Goya y Lucientes<\/strong>, entre 1825<\/strong> i 1828<\/strong>, a Burdeus<\/strong>.<\/figcaption><\/figure>\n<\/div>\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Considerat com el darrer dels pintors antics i el primer dels pintors moderns, Francisco de Goya y Lucientes (Fuendetodos, 1746-Bordeaux, 1828) fou un somiador i un atent observador de la seva realitat a parts iguals. Del darrer per\u00edode de l’artista -\u00faltims anys de vida autoexiliat a Burdeus, entre 1824 i 1828– en s\u00f3n dos quaderns<\/p>\n

Read More<\/a><\/div>","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33,18,26],"tags":[],"class_list":["post-2921","post","type-post","status-publish","format-standard","hentry","category-art-i-literatura","category-ciclisme","category-patinatge"],"yoast_head":"\nPatinatge i ciclisme en Goya - Centre d\u2019Interpretaci\u00f3 de l\u2019Esport de les Illes Balears<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cieib.es\/?p=2921\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Patinatge i ciclisme en Goya - Centre d\u2019Interpretaci\u00f3 de l\u2019Esport de les Illes Balears\" \/>\n<meta property=\"og:description\" content=\"Considerat com el darrer dels pintors antics i el primer dels pintors moderns, Francisco de Goya y Lucientes (Fuendetodos, 1746-Bordeaux, 1828) fou un somiador i un atent observador de la seva realitat a parts iguals. 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