La estética del cine negro en la pintura de Eduardo Arroyo
[EN] The aim of this article is to verify the intense relationship that, from its beginnings, the painter Eduardo Arroyo maintains with the cinematographic medium and especially with the adaptation of the postulates of black cinema to the pictorial practice. At first, and given its great visual appe...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2019 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/192232 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/192232 |
| Access Level: | acceso abierto |
| Palabra clave: | Painting Black cinema Outside-field Pintura Cine negro Fuera de campo |
| Sumario: | [EN] The aim of this article is to verify the intense relationship that, from its beginnings, the painter Eduardo Arroyo maintains with the cinematographic medium and especially with the adaptation of the postulates of black cinema to the pictorial practice. At first, and given its great visual appeal, within the pictorial approaches to black cinema, fit purely iconographic loans, but in the case of Eduardo Arroyo, we soon discovered that his interest in this genre goes further, and, has a sense much deeper and rooted in the foundations and structural principles of the cinematographic medium. In this way, a large part of its production is characterized by the use of outside-field as well as high-contrast aesthetics. These resources of the black cinema, become the pictorial universe of Arroyo, the perfect metaphor to describe the Franco regime, and modes of repression. |
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