Josep Renau y la recuperación de una belleza comprometida
[EN] Josep Renau and the restoration of a committed beauty.- Besides the question about the link between beauty and commitment, the paper analyses and proposes the restoration of both the existential and creative trajectory of Josep Renau (Valencia, 1907-Berlin, 1982), as one of the greatest Spanish...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2013 |
| País: | España |
| Institución: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/90126 |
| Acceso en línea: | http://hdl.handle.net/10261/90126 |
| Access Level: | acceso abierto |
| Palabra clave: | Josep Renau Committed art Committed beauty Avant-garde painting Cartelism Graphic design Photomontage Muralist painting Art déco Advertisement Propaganda Patrimony safeguard Artistic exile of 1939 Socialist realism Arte comprometido Belleza comprometida Pintura vanguardista Cartelismo Diseño gráfico Fotomontaje Muralismo Publicidad Salvaguarda del patrimonio Exilio artístico de 1939 Realismo socialista Contemporary art |
| Sumario: | [EN] Josep Renau and the restoration of a committed beauty.- Besides the question about the link between beauty and commitment, the paper analyses and proposes the restoration of both the existential and creative trajectory of Josep Renau (Valencia, 1907-Berlin, 1982), as one of the greatest Spanish modern painters without any doubt, but also a most singular, versatile and committed one. He was dedicated to painting, muralist painting, illustration, graphics and posters design or photomontage. His very intense development, in a sort of progression in relation to both socio-cultural commitment and artistic renovation, went through artistic and cultural stages of three significant countries binding his life, creativity and pilgrimage: Spain, Mexico and the former German Democratic Republic. Nevertheless, this commitment, so previously linked to his creative development, was simultaneously changing and varying from the impetuous commitment to the Spanish stage, to an endogen commitment of Mexican character and finally to the hexogen German stage, thus becoming from the seventies a functional implication adapted to the social requirement. At any rate, under such conditionings and during his development, he generated a kind of contingent or complex beauty –which we have called “committed beauty”-, the recovery of which must be undertaken while we also restore the figure of the artist himself. |
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