Modos de ver 3: valor al óleo (John Berger) Subtítulos español
Summary
TLDREl guion del video explora cómo las pinturas al óleo en Europa se convirtieron en símbolos de propiedad privada y riqueza. Se argumenta que, más allá de su belleza, estas obras reflejan la capacidad de compra y adquisición de objetos tangibles, lo que se convierte en una forma de poder y estatus social. A lo largo de la historia, las pinturas pasaron de ser meros registros de posesiones a obras de arte valoradas por su habilidad para representar la realidad de manera tangible y detallada. Sin embargo, destaca la excepción de algunos artistas que utilizaron el óleo para expresar visiones más personales y menos arraigadas en la riqueza materialista.
Takeaways
- 🎨 La pintura al óleo se convirtió en un objeto de valor, tanto por su belleza como por su capacidad para representar posesiones tangibles.
- 🏛 Los museos de arte, albergando pinturas valiosas, requieren de medidas de seguridad similares a las de bancos, reflejando su naturaleza de bienes de alto valor.
- 🤝 La valoración de las pinturas es enigmática, y a menudo se asocia con la riqueza y el estatus, más allá de su significado artístico intrínseco.
- 🌍 La tradición de la pintura al óleo en Europa se centra en la tangibilidad y la solidez de lo representado, lo que refleja una actitud de posesión y control.
- 🚢 La exploración y conquista de nuevos territorios por parte de Europa coincidió con el surgimiento de la pintura al óleo, conectando el arte con la expansión y el comercio.
- 🖼️ Las pinturas a menudo representan tesoros y riquezas, y a su vez, las pinturas en sí mismas se convirtieron en tesoros valiosos.
- 👥 Los retratos en la pintura al óleo no solo celebran a las personas representadas, sino que también reflejan la confianza y el poder adquiridos a través de la posesión de bienes.
- 🌳 En el caso de las pinturas de paisajes, a pesar de su aparente naturalidad, a menudo sirvieron para glorificar la propiedad privada y la riqueza de los propietarios.
- 🖌️ La técnica de la pintura al óleo permitía una representación excepcional de la textura y la solidez de los objetos, lo que realzaba la riqueza y el estatus de los objetos representados.
- 💡 Aunque hay excepciones, la tradición de la pintura al óleo en general promovió la idea de que lo real y lo valioso son aquellos objetos que se pueden tocar y poseer.
Q & A
¿Qué relación se establece entre las pinturas al óleo y la posesión de objetos valiosos?
-Las pinturas al óleo a menudo representan objetos tangibles y de valor, y poseer una pintura implica también poseer la apariencia del objeto que representa. Esto se asemeja a comprar un objeto y colocarlo en tu hogar, donde las pinturas se convierten en extensiones de la posesión física.
¿Cómo se describe el valor de las pinturas en el contexto de la historia del arte?
-El valor de las pinturas se ha vuelto misterioso y se cuestiona su origen. A menudo, los que escriben o hablan sobre el arte lo elevan a un nivel casi religioso, pero el valor real de las pinturas está en su capacidad para representar y glorificar la riqueza y la posesión.
¿Qué papel desempeñan los museos de arte en la conservación de las pinturas?
-Los museos de arte funcionan como palacios y bancos, custodiando las imágenes de objetos deseables. Al cerrar por la noche, están custodiados para evitar que sean robadas, lo que demuestra la naturaleza valiosa y vulnerable de las pinturas.
¿Cómo cambió la reproducción y la comunicación moderna la percepción del arte visual tradicional?
-La reproducción y comunicación moderna, como la fotografía de color y la televisión, han teóricamente cambiado el significado del arte visual tradicional, desenmascarándolo y haciendo que sea más secular, alejado de su percepción sagrada tradicional.
¿Qué revela la posesión de pinturas sobre la identidad y el estatus social de sus propietarios?
-La posesión de pinturas refleja una forma de orgullo y una afirmación de estatus social. Los propietarios de las pinturas se ven a sí mismos como dueños de objetos únicos que pueden ser adquiridos y mostrados, lo que a su vez demuestra su capacidad para adquirir y poseer riqueza tangible.
¿Cómo se relaciona el arte con la exploración y la expansión de la Europa colonial?
-El arte, especialmente las pinturas al óleo, a menudo reflejaba la riqueza y el poder adquiridos a través de la exploración y la colonización. Los objetos y las escenas representadas en las pinturas eran a menudo símbolos de la expansión y el control europeos sobre otros continentes.
¿Qué papel juegan las pinturas al óleo en la representación de la propiedad y el estatus?
-Las pinturas al óleo a menudo sirven para glorificar la propiedad privada y el estatus social. Muestran no solo la riqueza material, sino también la capacidad de los propietarios para adquirir y poseer objetos de valor, reforzando así su posición social.
¿Cómo se refleja la riqueza y el lujo en las pinturas al óleo de la época europea?
-La riqueza y el lujo se reflejan en las pinturas al óleo a través de la detallada representación de materiales costosos y objetos de valor, como sedas, joyas y pieles. Estas representaciones no solo demuestran la habilidad artística del pintor sino también la riqueza del propietario de la pintura.
¿Qué mensaje se transmite a través de las representaciones de la naturaleza en las pinturas al óleo?
-Las representaciones de la naturaleza en las pinturas al óleo a menudo transmiten un sentido de propiedad y control sobre el entorno. La naturaleza se muestra como una extensión de la propiedad privada, donde la posesión y la gestión de la tierra son elementos clave.
¿Cómo se refleja la tradición del arte en la sociedad europea y cómo ha cambiado con el tiempo?
-La tradición del arte en la sociedad europea se refleja en la celebración de la propiedad privada y el estatus social a través de la pintura al óleo. Con el tiempo, esta tradición se ha desafiado y ha evolucionado, con artistas que han cuestionado y reinterpretado los valores tradicionales, dando lugar a nuevas formas de expresión y comprensión del arte.
Outlines
🎨 El valor de las pinturas al óleo y su papel en la cultura
El primer párrafo explora la idea de que las pinturas al óleo han adquirido un valor significativo, transformándose en objetos de deseo y posesión. Se compara con la adquisición de objetos tangibles, sugiriendo que poseer una pintura es similar a poseer el objeto representado. La valoración de las pinturas se ha vuelto misteriosa y se cuestiona su origen. Se menciona cómo los medios de reproducción y comunicación modernos han desmitificado el arte, pero aún se mantiene un enfoque sagrado hacia el arte. Se presentan dos películas de conciertos como ejemplos de propaganda de guerra que fomentaban el orgullo en la herencia cultural, sugiriendo que la experiencia del arte puede ser sublime e independiente de otros valores.
🖼️ La posesión de las pinturas y su significado en la historia del arte
El segundo párrafo se centra en cómo las pinturas reflejan la historia y la cultura europea desde el Renacimiento. Se discute la idea de que las pinturas son objetos únicos que pueden ser adquiridos y poseídos, y cómo esto ha generado un tipo de orgullo especial en los patrones. Se destaca la importancia del uso del óleo como medio artístico en Europa desde 1500 hasta 1900, y cómo la pintura al óleo enfatizó la tangibilidad y la solidez de lo representado. Se menciona cómo las expediciones europeas de exploración y colonización, incluida la trata de esclavos, contribuyeron al enriquecimiento de Europa y cómo esto se refleja en el arte de la época.
🌍 La glorificación de la riqueza y el poder a través del arte
El tercer párrafo analiza cómo las pinturas al óleo sirvieron para glorificar la riqueza y el poder, no solo como representaciones estáticas, sino como una afirmación de la capacidad de compra y posesión. Se describe cómo las pinturas representaban objetos de valor, como bienes raíces, animales de gran linaje y ropas lujosas, como una demostración de la virtuosidad artística y la riqueza del propietario. Se argumenta que estas obras de arte reflejaban la confianza y la dignidad de los propietarios, y cómo las pinturas de retratos y paisajes también servían para celebrar la propiedad y el estatus social.
🏞️ El paisaje y la propiedad en la pintura al óleo
El cuarto párrafo explora cómo el paisaje se convirtió en un tema importante en la pintura al óleo, y cómo reflejaba la posesión de la tierra y la riqueza. Se menciona cómo los paisajes eran representados no solo por su belleza natural, sino también por su valor como propiedad privada. Se discute cómo los paisajes eran una forma de apreciar y glorificar la propiedad de la tierra, y cómo este enfoque se contrastaba con la visión de la naturaleza de otros artistas que buscaban expresar una conexión más personal y excepcional con el mundo natural.
👨🎨 La transformación del arte y la crítica a la tradición del óleo
El quinto párrafo reflexiona sobre la evolución del arte y cómo algunos artistas utilizaron la pintura al óleo para expresar visiones personales que desafiaban la tradición. Se destaca cómo Rembrandt, por ejemplo, cambió su enfoque a lo largo de su carrera, de celebrar la riqueza y el estatus social a explorar temas más profundos y personales. Se argumenta que, a pesar de que hay excepciones, la tradición general de la pintura al óleo en Europa enfatizaba la posesión privada y el valor material, y que esto sigue siendo un aspecto importante de la historia del arte que a menudo se pasa por alto.
🔍 Análisis crítico de la pintura al óleo y su legado
El sexto y último párrafo resume la crítica al arte de la pintura al óleo, argumentando que, más allá de las excepciones, la tradición de la pintura al óleo en Europa celebraba las posesiones privadas. Se sugiere que si analizamos la cultura del arte europeo desde una perspectiva objetiva, sin tomar en cuenta sus propias justificaciones, podemos ver que el arte de la pintura al óleo reflejaba y promovía la posesión privada. Se menciona que la tradición del óleo ha sido reemplazada por la publicidad, que también fomenta el deseo de posesión, y se anuncia el siguiente programa sobre publicidad.
Mindmap
Keywords
💡Pintura al óleo
💡Propiedad privada
💡Reproducción y comunicación
💡Arte y religión
💡Mercancía
💡Patrones
💡Naturaleza y propiedad
💡Mitología clásica
💡Retratos
💡Privilegio
Highlights
La pintura al óleo se ha convertido en el objeto más valioso, a menudo representando tesoros y convirtiéndose en tesoros en sí mismas.
Las galerías de arte son como palacios y bancos, custodiadas para proteger las imágenes de lo deseable.
El valor de las pinturas ha llegado a ser misterioso, lo que lleva a cuestionar de dónde proviene este valor.
Los que escriben o hablan sobre el arte a menudo lo elevan por encima de la vida, convirtiéndolo en una especie de religión.
Los nuevos métodos de reproducción y comunicación han cambiado teóricamente el significado del arte visual del pasado, desenmascarándolo y volviéndolo secular.
Las películas de dos conciertos durante la última guerra sirvieron como propaganda bélica para generar orgullo en el patrimonio cultural nacional.
La experiencia del arte puede parecer independiente de muchos otros valores, lo que nos lleva a cuestionar el amor por el arte.
La historia del arte no puede explicarse solo por el amor al arte, sino que debe ser vista desde una perspectiva más amplia.
La pintura al óleo fue dominada por la cultura europea y representó la propiedad privada y la capacidad de compra y adorno.
Las pinturas al óleo enfatizaban la tangibilidad y la solidez de lo representado, conectándose con el sentido de propiedad.
La exploración y conquista de nuevos territorios por parte de Europa se refleja en las pinturas al óleo, que a menudo mostraban objetos de lujo y poder.
Las pinturas de retratos y propiedades eran recordatorios de la confianza y la continuidad del poder y la valía.
La pintura al óleo podía representar la riqueza y el poder de una manera que nunca antes había sucedido en la historia del arte.
Las pinturas de paisajes y mitología clásica también servían para visualizar a los propietarios como seres de estatus y poder.
A pesar de que algunas pinturas parecen celebrar la propiedad, otras como las de Rembrandt cuestionan la existencia y el significado más allá de la posesión.
La tradición de la pintura al óleo ha sido rota, y en su lugar ha surgido la publicidad, que también fomenta el deseo de posesión.
Es importante no confundir las obras excepcionales de arte con el propósito y significado de la tradición general de la pintura al óleo.
Transcripts
thank you
we look
we buy
it is ours
ours to consume to sell again perhaps to
give away
more often hours to keep
we look
we buy
and we collect valuable objects but the
most valuable object of all
has become the oil paintings
oil paintings often depict things things
which in reality are viable
to paint a thing and put it on a canvas
is not unlike buying it
and putting it in your house
the objects within the painting
often appear as tangible
as those outside it
if you buy a painting you buy also the
look of the thing it represents
and this one
paintings
often show treasures
but paintings have become treasures
themselves
art galleries are like palaces but they
are also like banks
when they shut for the night they are
guarded
lest the images of the things which are
desirable are stolen
the value of paintings has become
mysterious
where we ask ourselves
does this value come from
[Music]
[Music]
those who write about art or talk or
teach about it
often raise art above life
turning it into a kind of religion
in the first of these programs i tried
to show how and why modern methods of
reproduction and communication like
color photography like television have
theoretically changed the meaning of the
visual art of the past demystifying it
and making it secular
but mostly those who use these new
methods of reproduction and
communication
those who write books or make television
programs about art
tend to cling to the old approach
art
remains something sacred
a love of art seems automatically to be
offered as a sublime human experience
perhaps so
we should consider this historical
record
two films of two concerts given in
britain and germany during the last war
both films made as war propaganda to
engender pride in the national cultural
heritage
the first shows a concert in london
given by mara hairs
[Music]
the second shows a concert in berlin by
foot wenger
[Music]
[Music]
if the experience of art is sublime
it looks as though it can be sublimely
independent of a lot of other values so
perhaps we should be somewhat wary of a
love of art
you cannot explain anything in history
not even in art history by a love of art
let us look at a painting whose subject
is an art lover
this picture which shows a 17th century
patron surrounded by his collection
tells us more about europe and painting
from the renaissance onwards than
hundreds of art books or essays on
aesthetics
what does it show
the sort of man for whom painters
painted their paintings
what are these paintings
before they are anything else
they are objects which could be bought
and owned
unique objects a patron cannot be
surrounded by music or poems in the same
way as he is surrounded by his pictures
does this special ownership of pictures
engender a special kind of pride
it is as though he lives in a house
built of paintings
what is their advantage over walls of
stone or wood
they show him sights
there are many different subjects
what the pictures all have in common
is that they are painted with oil paint
from about 1500 to 1900 the visual arts
of europe were dominated by the oil
painting the easel picture this kind of
painting had never been used anywhere
else in the world before
the tradition of oil painting was made
up of hundreds of thousands of
unremarkable works
hung all over the walls of galleries and
private houses rather in the same way as
the reserve collection is still hung in
the national gallery
if as we are normally taught to do we
emphasize the genius of the few and
concentrate only on the exceptional
works we will misunderstand what the
tradition was really about
european oil painting unlike the art of
other civilizations and periods
placed a unique emphasis on the
tangibility the solidity the texture the
weight the gospel ability of what was
depicted
what was real is what you could put your
hands on
the idea that a thing is only real if
you can pick it up
may be connected with the idea of
taking a thing to pieces to see how it
works
at the beginning of the tradition of oil
painting the emphasis on the real being
solid
was part of a scientific attitude
but the emphasis on the real being solid
on being what you could put your hands
on
became
equally closely connected
with a sense of ownership
these scientific instruments were used
for navigation
they were painted at the time when the
world trade routes to europe were being
opened up by the heroic voyages which we
learned about in school
bringing european civilization to the
rest of the world
it tends to be forgotten that these
voyages were the start of the european
slave trade and the traffic which began
to siphon the riches of the rest of the
world into europe
christopher columbus wrote from jamaica
gold is a wonderful thing by means of
gold one can even get souls into
paradise
in 1519 magellan set out to sail around
the world
he and an astronomer friend with whom he
had planned the voyage were to keep 20
of the profits made and the right to run
the government of any land they
discovered and conquered
this globe charts magellan's voyage
around the world
beside it is a book of arithmetic
a hymn book
and a loot
to conquer a land it was always
necessary to convert it to christianity
the picture was painted in 1533 by
holbein
it shows two french diplomats in london
the picture is about science about
navigation about diplomacy about power
but in the way that it has been painted
in the way that it has been seen
what is it most about
there is not a surface in this picture
which does not denote wealth there is
not a surface which has not been
elaborately and skillfully worked
except for their faces and hands every
square inch of the canvas has been gone
over numerous times by weavers
embroiderers carpet makers mosaic makers
leather workers farriers jewelers and
last of all
by holbein the painter
they are two men convinced that the
world is there to furnish their
residence in it
the seafaring instruments have been
placed on an eastern carpet
without the first the second would not
be there
implicit in the rise of european
christian culture was the destruction of
other cultures
but the europeans saw it differently
they believed that their civilization
was in all respects more advanced than
any other
the african kneels to hold up an oil
painting to his master
the painting he is holding depicts the
castle above one of the principal
centers of the west african slave trade
many works of art in other cultures and
periods have celebrated wealth and power
gods princes and dynasties were
worshiped
but these works were static
ritualistic hierarchic
symbolic
they celebrated a social or divine order
the european oil painting served a
different kind of wealth it glorified
not a static order of things but the
ability to buy
and furnish and to own
before the invention of oil painting
medieval european painters
often used gold leaf in their pictures
afterwards
gold disappeared from their paintings
and was only used for their frames
but sometimes the paintings themselves
were simple demonstrations of what gold
of what money could buy
a certain kind of oil painting
celebrated merchandise
in a way that had never happened before
in the history of art merchandise became
the actual principle subject of these
works
eating is a pleasure but these paintings
cannot be eaten
they are a demonstration of something
else
first of all of the artist's virtuosity
secondly of the owner's wealth
livestock
not animals in their natural condition
but animals whose pedigree is emphasized
and whose pedigree is a proof of their
value
whose pedigree emphasizes the social
pedigree of their owners
they are painted like pieces of
furniture
a table or chair with four legs
objects
objects which significantly enough
became known as object
houses
buildings not considered as ideal works
of architecture is in the work of some
of the earlier renaissance artists but
buildings considered as landed property
portraits were equally important
portraits of the owners the owners of
the paintings and the owners of much
else besides
these paintings did not directly
celebrate what was viable
they were records of the confidence of
those
to whom ownership brought confidence
those who could buy banquets horses
bulls houses
hung on their walls
generations of portraits
painted to celebrate a continuity of
power and worthiness
there were hundreds of thousands of such
portraits
but those they depicted represented an
exceedingly small fraction of the
population
the poor have neither animals nor
portraits
their lives are unrecorded
but again the style with which the
average portrait was painted reveals
something about the basis of this
confidence and of this so-called dignity
of the sitter
they were painted as though they were a
strange mixture of livestock furniture
and taylor's dummies
every portrait is a record which says
i once existed and looked like this
these portraits say in addition
i was an object of respect and envy
i had only to raise my hand
to receive attention
everybody's clothes indicate social
status
but the clothes and feathers and jewelry
of these women
make exaggerated claims
it is their clothes not their faces
which dazzle
the faces of women in many european
paintings are like the faces of swimmers
in seas of silk and satin
oil painting could paint these materials
as they had never before been painted
there were also paintings whose subjects
were taken from classical literature
subjects which today seem quite remote
unsubstantial dreamlike
but this wasn't so when the pictures
were bought
classical mythology was part of the
specialized knowledge
of the privileged minority
and these paintings helped them to
visualize themselves
whilst displaying the classic virtues
making the classic gestures
the paintings were the settings for
charades
in which they themselves would play
the props were given
the spirit of the performance
was left to the owner's imagination
the figures were like garments held out
for the spectator owners to put their
arms into and where
here the daughters of the family
dress up as graces decorating hymen
but the dressing up didn't have to be as
literal as that
the spectator wore the clothes and
played his part
just in imagination
who would you guess she was meant to
represent
different painters see her differently
but do these paintings have anything in
common
and if so
what is it that they all convey
these pictures are all from the national
gallery
and are all of mary magdalene
the point of the original story
is that a prostitute so loves christ
that she repents of her past and comes
to accept
the mortality of flesh and the
immortality of the soul
in each case the way the picture is
painted
contradicts the essence of the story
the method of painting
the way of seeing can only envisage her
as being before everything else
takeable
the hypocrisy is sexier
the title suggests sacred love
the painting with title as alibi
speaks of profane love
alternatively she is simply a
well-dressed
eligible young woman
the tangibility of her wardrobe the
elegance of her presence is all
it's a portrait that might have been
painted of her for her future husband on
the occasion of their betrothal
what i'm saying
applies least of all to landscape
painting or to the great late masters of
landscape painting like constable or
turner or monet
but even there in the development of
landscape painting
the faculty of oil painting to celebrate
property
did play a certain role
this is what sir kenneth clark says
about gainsborough
at the very beginning of his career his
pleasure in what he saw inspired him to
put into his pictures backgrounds are
sensitively observed as the cornfield in
which a seated mr and mrs andrews
this enchanting work is painted with
such love and mastery that we should
have expected gainsborough to go further
in the same direction
but he gave up direct painting and
evolved the melodious style of picture
making by which he is best known
now look at it another way
the way i would use it for my argument
they have become not a couple in nature
as russo imagined nature
theirs is private land
look at their attitude towards it
the attitude is visible
if a man stole a potato at that time he
risked the public whipping the sentence
for poaching was deportation
without doubt among the principal
pleasures this painting gave to mr and
mrs andrews was the pleasure of seeing
themselves as the owners of their own
land
and this pleasure was enhanced by the
ability of oil paint to render this land
in all its substantiality
the serialist painter magritte
commented on this faculty of oil
painting the painted landscape stands in
for the real one
a number of great painters
used oil paint to express their own
highly personal
and exceptional visions
they in many ways contradict my argument
they also contradict
the tradition from which they sprang
this picture by rubens
celebrates the park and farmland
surrounding the chateau he lived in
but the chateau and its owners are far
away
hunting is free
the fields are golden
the landscape is like a counter pain on
a bed
it is a painting which goes beyond its
traditional category
it is not a painting about a castle and
its lands
on the contrary it shows a world without
scarcity a world of plenty a world that
is which contradicts the entire history
of private property
there's a painting of a woman by vermeer
which at first sight confirms everything
i have said it would seem to be the
ideal illustration of my argument
she is weighing gold in a pair of scales
or perhaps also weighing the pearls
strewn on the table
her interest is commercial
in the way the scene is painted the
substantiality and tangibility of
everything is emphasized
everything suggests the solidity of a
dutch middle class home
even the painting of the last judgment
on the wall behind her
a painting on the wall is a mark of
prosperity
but go on looking
gradually the painting becomes
more mysterious
less easily explainable in my terms
the light falls on her face
on her fingers
on the scales
on the pearls
the moment has been preserved
and as we realize that
the way that it has been preserved
we realize
that like every moment
it was unrepeatable
it is as though she is holding the
moment
between her forefinger and thumb
on the scales of the past and the future
despite its apparent celebration of
property this painting
is about the mystery of light and time
as we look up at the stars
not for one moment would i deny or
belittle the significance and
achievement of paintings like these
but we should not confuse these
exceptional paintings and everything in
the museums everything said by art
experts encourages this confusion we
should not confuse such exceptional
works
with the purpose and significance
of the general tradition
let me show the difference again this
time at the highest level
two self-portraits by rembrandt
one when he was young
one when he was old
but the difference between them
isn't just a question of how age changes
a man's character
in the first painting rembrandt used the
style and methods of the tradition for
their traditional purposes as an
advertisement for the owners good
fortune prestige and wealth
in the later painting he has turned the
tradition against itself
all has gone
except a sense
of the question of existence
of existence as a question
intermittently
the tradition can breed within itself a
counter tradition
but the basic values of the tradition
win
in the end
this painting now has a fabulous price
on its head perhaps three million pounds
it has itself
become a fabulous object of property
of course a lot more can be said about
european oil painting than i have said
yet what i have tried to show
is a fundamental part of the truth
which is usually ignored
we study other cultures
far away as anthropology
that's to say
we study them from the outside we don't
judge them purely according to their own
explanations of themselves
now if we look
at the culture of the european oil
painting in the same spirit leaving
aside its own claims for itself
i believe we will find that oil painting
was before everything else
a medium
which celebrated private possessions
the tradition of the oil painting has
now been broken once and for all
in some ways publicity has taken its
place
the site of it makes us want to possess
it
and publicity is the subject of our
program next week
and the final part of ways of seeing is
right here on bbc four tomorrow at half
past seven
next tonight stay with us as we prowl
through wild china
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