{"id":16323,"date":"2016-10-17T06:26:37","date_gmt":"2016-10-17T04:26:37","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=16323"},"modified":"2022-02-15T09:25:14","modified_gmt":"2022-02-15T08:25:14","slug":"charles-ventrillon-oscar-tenreiro-degwitz","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/charles-ventrillon-oscar-tenreiro-degwitz\/","title":{"rendered":"Charles Ventrillon | \u00d3scar Tenreiro Degwitz"},"content":{"rendered":"

[:es]

\"El<\/a>
El Lago de Chapala, pintado a fines de los a\u00f1os veinte, que miro diariamente en la sala de mi casa | oscartenreiro.com<\/span><\/figcaption><\/figure><\/p>\n

Hace cincuenta a\u00f1os tuvimos un profesor en la Facultad de Arquitectura que ense\u00f1aba a dibujar. Su ense\u00f1anza nada ten\u00eda que ver con trucos o f\u00f3rmulas sino con fundamentos, con lo que precede al acto mismo de dibujar, podr\u00eda decirse. Nos dec\u00eda por ejemplo que era importante observar en general, lo cual consideraba una virtud especial; y observar el objeto que se quer\u00eda dibujar con la mayor atenci\u00f3n, para entenderlo. Buscar en \u00e9l proporciones y direcciones. Ritmos. Cosas todas dif\u00edciles de definir, vagas. Dibuj\u00e1bamos con carboncillo y us\u00e1bamos atriles. Nos exig\u00eda colocarnos con la distancia adecuada frente al atril, medida con el brazo estirado para lograr amplitud en el gesto, en el trazo. Nos hablaba de evitar el detalle, de no dejarnos llevar por \u00e9l sin antes haber esbozado la totalidad. Nos exig\u00eda mucho, nos acosaba casi y era duro con los que cre\u00edan saber, porque dec\u00eda que hab\u00eda que renunciar a lo aprendido para moverse con libertad. Apuntaba siempre a que busc\u00e1ramos nuestra propia capacidad de expresarnos. Y no buscaba de su rol de profesor razones para ocultar\u00a0 su modo de vivir, de ver las cosas, de situarse frente a la vida.<\/p>\n

Se llamaba Charles Ventrillon-Horber<\/a> y era franc\u00e9s, nacido en Par\u00eds en 1899. Mencionaba mucho a esa gran figura de la pintura acad\u00e9mica francesa que fue Jean Paul Laurens (1838-1921), profesor de nuestros Arturo Michelena<\/a>, Crist\u00f3bal Rojas<\/a> y tal vez de \u00e9l, cuando muy joven. Hab\u00eda pintado mucho en su tiempo europeo pero aqu\u00ed su tema era la ense\u00f1anza. Su formaci\u00f3n lo alejaba de las modas de entonces y acaso lo paralizaba como artista. Ataviado con una bata blanca, era habitante permanente del taller de dibujo, lleno de reproducciones de esculturas del mundo hel\u00e9nico. Las colocaba en el centro del Taller y a veces nos asignaba los puestos haci\u00e9ndonos dibujar en escorzo aumentando la dificultad. El disc\u00f3bolo en reposo era su preferido por lo sutil de su ritmo. Una vez logr\u00e9 esbozarlo, \u00e9l me elogi\u00f3 y aqu\u00ed est\u00e1 el dibujo frente a m\u00ed, todos los d\u00edas, para recordarme un peque\u00f1o logro.<\/p>\n

Exigencias y Ense\u00f1anzas.<\/strong><\/p>\n

Como uno de los ejercicios de comienzo de curso, dif\u00edcil hasta para los m\u00e1s h\u00e1biles, sol\u00eda colocar dos taburetes de dibujo entrelazados, para que estudi\u00e1ramos las direcciones. Y nos recomendaba dibujar nubes. O rocas, porque sus m\u00faltiples aristas, vetas, quiebres, reflejos, estimulaban la precisi\u00f3n del trazo. Dio forma a una constelaci\u00f3n de exigencias y ense\u00f1anzas que ayudaba a distinguir entre el dibujo con vida propia, que remite a la complejidad del objeto, y la simple reproducci\u00f3n h\u00e1bil, tan com\u00fan y trivial. Ya eso era de agradecer.<\/p>\n

Amaba y estudiaba la naturaleza. Y a Venezuela, su gente, sus paisajes. Cuando \u201cLos Diablos de Yare\u201d eran m\u00e1s aut\u00e9nticos e ir a observarlos requer\u00eda un viaje de varias horas, en 1954, organiz\u00f3 una visita de estudiantes de la cual qued\u00f3 un documental en blanco y negro imperfecto pero interesante que una vez nos proyect\u00f3. Porque practicaba el cine. Ten\u00eda una Paillard-Bolex de 16 mm.<\/p>\n

Frecuentaba el mar, que disfrutaba en la casa construida por \u00e9l en Chichiriviche de la Costa, a donde viajaba en jeep los fines de semana. All\u00ed, en el corredor de esa casa destruida hace veinte a\u00f1os por uno de esos deslaves de nuestro litoral, instal\u00f3 una especie de silla de pescar porque sent\u00eda especial predilecci\u00f3n por capturar tiburones. Y como la casa estaba frente al mar y a no m\u00e1s de cien metros de la orilla, s\u00f3lo ten\u00eda que pedirle a alguno de los pescadores del lugar, sus amigos, que le llevaran anzuelo y carnada mar adentro y el viejo (as\u00ed le dec\u00edamos, pero era joven) se quedaba pendiente de la alarma de la ca\u00f1a, para encargarse de la lucha. Era su hobby preferido.<\/p>\n

Personas.<\/strong><\/p>\n

Ventrillon nos hablaba de todo en los momentos de descanso. Con frecuencia se le acercaban (seductoras, claro), las compa\u00f1eras de curso; y \u00e9l encantado. Y dejaba espacio para sesiones de conversaci\u00f3n que eran como peque\u00f1os seminarios sobre la vida, las cosas y su obsesi\u00f3n, el arte.\u00a0 Junto a Edoardo Crema<\/a>, profesor italiano que nos hablaba del Renacimiento, citaba a Vasari<\/a> y nos hizo comprar la Historia del Arte de Pijoan, nos abrieron a ese mundo. Crema era m\u00e1s convencional pero no menos dispuesto a se\u00f1alar lo importante.<\/p>\n

Y el ser ajeno a convencionalismos hac\u00eda que Ventrillon incursionara en temas mundanos. Una vez me dijo,<\/p>\n

\n

\u00bfquiere saber como ser\u00e1 la mujer que le interesa?<\/em><\/p>\n<\/blockquote>\n

Observe a su madre. Pens\u00e9 que hab\u00eda dejado paso a una cierta misoginia, pero ahora lo entiendo mejor, la juventud puede ser un disfraz.<\/p>\n

Muchos lo hemos visto con inmensa gratitud. Hoy lo reitero, y no lo digo por ser amable con el recuerdo, sino porque en momentos adolescentes cuando uno duda de sus capacidades o de haber escogido el camino equivocado, la presencia de quienes orientan enfrent\u00e1ndote con rigor a tus limitaciones sin dejar de se\u00f1alar tus virtudes, tienen una importancia excepcional.<\/p>\n

Charles Ventrillon es una prueba m\u00e1s de la importancia de las personas en la educaci\u00f3n, es mi tema de estos d\u00edas. Por encima de m\u00e9todos, programas o intenciones pedag\u00f3gicas. En cierto modo su presencia en los dos primeros a\u00f1os de la carrera, resum\u00eda la dimensi\u00f3n human\u00edstica del oficio de arquitecto. Y desde que dej\u00f3 de ser profesor en nuestras aulas, injustamente separado de su c\u00e1tedra por la explosi\u00f3n de lugares comunes ideol\u00f3gicos (populistas, claro) a la ca\u00edda de P\u00e9rez Jim\u00e9nez, su ausencia no ha podido ser suplida o compensada. Pero lo acogi\u00f3 desde entonces la Facultad de Ciencias donde dict\u00f3 la c\u00e1tedra de Dibujo para Bi\u00f3logos<\/em> y public\u00f3 un librito con ese nombre, que sigue a la venta. Muri\u00f3 en su casa de La Pastora en 1977. All\u00ed lo visit\u00e9 una vez, con deseos de decirle que hab\u00eda sido mi Maestro. No s\u00e9 si lo logr\u00e9.\u00a0 Hoy lo recuerdo con palabras que me parecen pocas. Y s\u00e9 que soy el portavoz de muchos.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, septiembre 2011,
\nEntre lo Cierto y lo Verdadero<\/em><\/span>[:gl]

\"El
O Lago de Chapala, pintado a fins dos anos vinte, que miro diariamente na sala da mi\u00f1a casa | oscartenreiro.com<\/span><\/figcaption><\/figure><\/p>\n

Fai cincuenta anos tivemos un profesor na Facultade de Arquitectura que ensinaba a debuxar. O seu ensino nada ti\u00f1a que ver con trucos ou f\u00f3rmulas sen\u00f3n con fundamentos, co que precede ao acto mesmo de debuxar, poder\u00eda dicirse. Dic\u00edanos por exemplo que era importante observar en xeral, o cal consideraba unha virtude especial; e observar o obxecto que se quer\u00eda debuxar coa maior atenci\u00f3n, para entendelo. Buscar nel proporci\u00f3ns e direcci\u00f3ns. Ritmos. Cousas todas dif\u00edciles de definir, vagas. Debuxabamos con carboncillo e usabamos atr\u00eds. Esix\u00edanos colocarnos coa distancia adecuada fronte ao atril, medida co brazo estirado para lograr amplitude no xesto, no trazo. Fal\u00e1banos de evitar o detalle, de non deixarnos levar por el sen antes esbozar a totalidade. Esix\u00edanos moito, acos\u00e1banos case e era duro cos que cr\u00edan saber, porque dic\u00eda que hab\u00eda que renunciar ao aprendido para moverse con liberdade. Apuntaba sempre a que busc\u00e1semos nosa propia capacidade de expresarnos. E non buscaba do seu rol de profesor razoes para ocultar o seu modo de vivir, de ver as cousas, de situarse fronte \u00e1 vida.<\/p>\n

Cham\u00e1base Charles Ventrillon-Horber<\/a> e era franc\u00e9s, nacido en Par\u00eds en 1899. Mencionaba moito a esa gran figura da pintura acad\u00e9mica francesa que foi Jean Paul Laurens (1838-1921), profesor dos nosos Arturo Michelena, Crist\u00f3bal Vermellas e talvez del, cando moi nova. Pintara moito no seu tempo europeo pero aqu\u00ed o seu tema era o ensino. A s\u00faa formaci\u00f3n afast\u00e1bao das modas de ent\u00f3n e seica o paralizaba como artista. Ataviado cunha bata branca, era habitante permanente do taller de debuxo, cheo de reproduci\u00f3ns de esculturas do mundo hel\u00e9nico. Coloc\u00e1baas no centro do Taller e \u00e1s veces asign\u00e1banos os postos fac\u00e9ndonos debuxar en escorzo aumentando a dificultade. O disc\u00f3bolo en repouso era o seu preferido polo sutil do seu ritmo. Unha vez logrei esbozalo, el eloxioume e aqu\u00ed est\u00e1 o debuxo fronte a min, todos os d\u00edas, para lembrarme un pequeno logro.<\/p>\n

Esixencias e Ensinos.<\/strong><\/p>\n

Como un dos exercicios de comezo de curso, dif\u00edcil ata para os m\u00e1is h\u00e1biles, adoitaba colocar dous taburetes de debuxo entrelazados, para que estud\u00e1semos as direcci\u00f3ns. E recomend\u00e1banos debuxar nubes. Ou rocas, porque as s\u00faas m\u00faltiples arestas, vetas, crebes, reflexos, estimulaban a precisi\u00f3n do trazo. Deu forma a unha constelaci\u00f3n de esixencias e ensinos que axudaba a distinguir entre o debuxo con vida propia, que remite \u00e1 complexidade do obxecto, e a simple reproduci\u00f3n h\u00e1bil, tan com\u00fan e trivial. Xa iso era de agradecer.<\/p>\n

Amaba e estudaba a natureza. E a Venezuela, a s\u00faa xente, as s\u00faas paisaxes. Cando \u201cOs Dia\u00f1os de Yare\u201d eran m\u00e1is aut\u00e9nticos e ir observalos requir\u00eda unha viaxe de varias horas, en 1954, organizou unha visita de estudantes da cal quedou un documental en branco e negro imperfecto pero interesante que unha vez proxectounos. Porque practicaba o cinema. Ti\u00f1a unha Paillard-Bolex de 16 mm.<\/p>\n

Frecuentaba o mar, que gozaba na casa constru\u00edda por el en Chichiriviche da Costa, onde viaxaba en jeep os fins de semana. Al\u00ed, no corredor desa casa destru\u00edda fai vinte anos por un deses deslaves do noso litoral, instalou unha especie de cadeira de pescar porque sent\u00eda especial predilecci\u00f3n por capturar quenllas. E como a casa estaba fronte ao mar e a non m\u00e1is de cen metros da beira, s\u00f3 ti\u00f1a que pedirlle a alg\u00fan dos pescadores do lugar, os seus amigos, que lle levasen anzol e carnada mar dentro e o vello (as\u00ed lle diciamos, pero era mozo) quedaba pendente da alarma da cana, para encargarse da loita. Era o seu hobby preferido.<\/p>\n

Persoas.<\/strong><\/p>\n

Ventrillon fal\u00e1banos de todo nos momentos de descanso. Con frecuencia acheg\u00e1banselle (sedutoras, claro), as compa\u00f1eiras de curso; e el encantado. E deixaba espazo para sesi\u00f3ns de conversaci\u00f3n que eran como pequenos seminarios sobre a vida, as cousas e a s\u00faa obsesi\u00f3n, a arte. Xunto a Edoardo Crema<\/a>, profesor italiano que nos falaba do Renacemento, citaba a Vasari<\/a> e f\u00edxonos comprar a Historia da arte de Pijoan, abr\u00edronnos a ese mundo. Crema era m\u00e1is convencional pero non menos disposto a sinalar o importante.<\/p>\n

E o ser alleo a convencionalismos fac\u00eda que Ventrillon incursionara en temas mundanos. Unha vez d\u00edxome,<\/p>\n

\n

quere saber como ser\u00e1 a muller que lle interesa?<\/em><\/p>\n<\/blockquote>\n

Observe \u00e1 s\u00faa nai. Pensei que deixara paso a unha certa misoxinia, pero agora ent\u00e9ndoo mellor, a mocidade pode ser un disfrace.<\/p>\n

Moitos o vimos con inmensa gratitude. Hoxe reit\u00e9roo, e non o digo por ser amable co recordo, sen\u00f3n porque en momentos adolescentes cando uno d\u00fabida das s\u00faas capacidades ou de escoller o cami\u00f1o equivocado, a presenza de quen orienta enfront\u00e1ndoche con rigor \u00e1s t\u00faas limitaci\u00f3ns sen deixar de sinalar as t\u00faas virtudes, te\u00f1en unha importancia excepcional.<\/p>\n

Charles Ventrillon \u00e9 unha proba m\u00e1is da importancia das persoas na educaci\u00f3n, \u00e9 o meu tema destes d\u00edas. Por encima de m\u00e9todos, programas ou intenci\u00f3ns pedag\u00f3xicas. En certo xeito a s\u00faa presenza nos dous primeiros anos da carreira, resum\u00eda a dimensi\u00f3n human\u00edstica do oficio de arquitecto. E desde que deixou de ser profesor nas nosas aulas, inxustamente separado da s\u00faa c\u00e1tedra pola explosi\u00f3n de lugares com\u00fans ideol\u00f3xicos (populistas, claro) \u00e1 ca\u00edda de P\u00e9rez Jim\u00e9nez, a s\u00faa ausencia non puido ser suplida ou compensada. Pero acolleuno desde ent\u00f3n a Facultade de Ciencias onde ditou a c\u00e1tedra de Debuxo para Bi\u00f3logos<\/em> e publicou un librito con ese nome, que segue \u00e1 venda. Morreu na s\u00faa casa da Pastora en 1977. Al\u00ed visiteino unha vez, con desexos de dicirlle que fora o meu Mestre. Non se se o logrei. Hoxe l\u00e9mbroo con palabras que me parecen poucas. E sei que son o portavoz de moitos.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, setembro 2011,
\nEntre lo Cierto y lo Verdadero<\/em><\/span>[:en]

\"El<\/a>
The Chapala Lake, painted at the end of the twenties, at which I look every day in the room of my house | oscartenreiro.com<\/span><\/figcaption><\/figure><\/p>\n

Fifty years ago we had a teacher in the Faculty of Architecture that it was teaching to draw. His education nothing had to see with tricks or formulae but with foundations, with what it precedes the act itself of drawing, it might be said. He was saying to us for example that it was important to observe in general, which was considering a special virtue; and to observe the object that wanted to show with the major attention, to understand it. To look in him for proportions and directions. Paces. Sew all the difficult ones to define, you stroll around. We were drawing with charcoal and were using easels. It was required to place us with the distance adapted opposite to the easel, measured up to the arm stretched to achieve extent in the gesture, in the outline. It was speaking of avoiding the detail to us, of not leaving ourselves to go for him without before having outlined the totality. It was required us very much, was harassing us almost and was hard with those that they were thinking about knowing, because he was saying that it was necessary to resign the learned to move with freedom. It was pointing always that we were looking for our own aptitude to express. And it was not searching of his teacher’s role reason to conceal his way of living, of seeing the things, of placing opposite to the life.<\/p>\n

It was calling Charles Ventrillon-Horber<\/a> and was French, born in Paris in 1899. It was mentioning very much to this great figure of the academic French painting that was Jean Paul Laurens (1838-1921), teacher of our Arturo Michelena<\/a>, Crist\u00f3bal Rojas<\/a> and maybe of him, very young when. It had done very much in his European time but here his topic was the education. His formation was removing it from the modes of then and perhaps it was paralyzing it as artist. Decked with a white dressing-gown, he was a permanent inhabitant of the workshop of drawing, abundance of reproductions of sculptures of the Hellenic world. He was placing them in the center of the Workshop and sometimes it was assigning the positions to us making us draw foreshortened increasing the difficulty. The disc\u00f3bolo in rest was his preferred by the subtle of his pace. Once I managed to outline it, he praised me and here the drawing is opposite to me, every day, to remember a small achievement.<\/p>\n

Requirements and Educations.<\/strong><\/p>\n

As one of the exercises of beginning of course, difficult up to for the most skilful, it was in the habit of placing two stools of drawing interlaced, in order that we were studying the directions. And it was recommending to us to draw clouds. Or rocks, because his multiple edges, seams, you fail, reflections, were stimulating the precision of the outline. Form gave to a constellation of requirements and educations that it was helping to distinguish between the alive drawing own, that he sends to the complexity of the object, and simple skilful, so common and trivial reproduction. Already it was of being grateful.<\/p>\n

It loved and studying the nature. And to Venezuela, his people, his landscapes. When \u201cThe Devils of Yare\u201d were more authentic and to be going to observe them was needing a trip of several hours, in 1954, it organized a students’ visit of which a documentary stayed in black and white imperfectly but interesting that once projected us. Because he was practising the cinema. It had a Paillard-Bolex of 16 mm.<\/p>\n

He was frequenting the sea, which he was enjoying in the house constructed by him in Chichiriviche of the Coast, to where he was travelling in jeep the weekends. There, in the corridor of this destroyed house twenty years ago for one of this fade of our littoral, he installed a species of chair of going fishing because he was feeling special predilection for capturing sharks. And as the house it was opposite to the sea and to not more than hundred meters of the shore, only it had to ask someone of the local fishermen, his friends, to take fishhook and bait to him out to sea and the old man (this way we were saying to him, but he was a young woman) it could only dependent on the alarm of the cane, to take charge of the fight. It was his favorite hobby.<\/p>\n

People.<\/strong><\/p>\n

Ventrillon was speaking to us about everything in the moments of rest. Often they were bringing him over (seductoras, clear), the companions of course; and delighted he. And it was leaving space for meetings conversations that were like small seminars on the life, the things and his obsession, the art. Together with Edoardo Crema<\/a>, Italian teacher who was speaking to us about the Renaissance, he was mentioning Vasari<\/a> and it made us buy the History of Pijoan’s Art, they opened us for this world. Cream was more conventional but not less ready to indicate the important thing.<\/p>\n

Ventrillon nos hablaba de todo en los momentos de descanso. Con frecuencia se le acercaban (seductoras, claro), las compa\u00f1eras de curso; y \u00e9l encantado. Y dejaba espacio para sesiones de conversaci\u00f3n que eran como peque\u00f1os seminarios sobre la vida, las cosas y su obsesi\u00f3n, el arte. Junto a Edoardo Crema<\/a>, profesor italiano que nos hablaba del Renacimiento, citaba a Vasari<\/a> y nos hizo comprar la Historia del Arte de Pijoan, nos abrieron a ese mundo. Crema era m\u00e1s convencional pero no menos dispuesto a se\u00f1alar lo importante.<\/p>\n

And the being foreign to conventions was doing that Ventrillon was penetrating into mundane topics. Once he said to me,<\/p>\n

\n

it wants to know since she will be the woman in that he is interested?<\/em><\/p>\n<\/blockquote>\n

Observe his mother. I thought that it had opened way to a certain misogyny, but now I understand it better, the youth can be a disguise.<\/p>\n

Many we have seen it with immense gratitude. Today I repeat it, and do not say it for being nice with the recollection, but because in teen moments when one doubts his capacities or of having chosen the wrong way, the presence of those who orientate facing rigor your limitations without stopping indicating your virtues, they have an exceptional importance.<\/p>\n

Charles Ventrillon is one more test of the importance of the persons in the education, is my topic of these days. Over methods, programs or pedagogic intentions. In certain way his presence in the first two years of the career, it was summarizing the humanistic dimension of the architect’s trade. And since he stopped being a teacher in our classrooms, unjustly separated from his chair for the explosion of common ideological places (populist, clear) to Perez Jim\u00e9nez’s fall, his absence could not have been replaced or compensated. But the Faculty of Sciences received it since then where it dictated the chair of Drawing for Biologists<\/em> and a librito published with this name, which continues to the sale. He died in his house of The Shepherdess in 1977. There I visited it once, with desires to say to him that he had been my Teacher. Do not be if I achieved it. Today I remember it with words that seem to me to be small. And I know that I am the spokesperson of many.<\/p>\n

\u00d3scar Tenreiro Degwitz, Architect.
\nVenezuela, september 2011,
\nEntre lo Cierto y lo Verdadero<\/em><\/span>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Hace cincuenta a\u00f1os tuvimos un profesor en la Facultad de Arquitectura que ense\u00f1aba a dibujar. Su ense\u00f1anza nada ten\u00eda que ver con trucos o f\u00f3rmulas sino con fundamentos, con lo que precede al acto mismo de dibujar, podr\u00eda decirse. Nos dec\u00eda por ejemplo que era importante observar en general, lo cual consideraba una virtud […]<\/p>\n","protected":false},"author":35,"featured_media":58782,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,39,3,5951],"tags":[9142,12449,12712,12270,12713,2298,424,12271,458,1576,8094,12272,668,920,11762,977,12466,1286],"class_list":["post-16323","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arte-blog","category-artistas","category-capturas","category-slider-principal","tag-arquitectura-venezolana","tag-arte","tag-arturo-michelena","tag-charles-ventrillon-horber","tag-cristobal-rojas","tag-dibujar","tag-dibujo","tag-eduardo-crema","tag-educacion","tag-ensenanza","tag-escuela-de-arquitectura","tag-giorgio-vasari","tag-historia","tag-naturaleza","tag-oscar-tenreiro-degwitz","tag-paisaje","tag-pintura","tag-territorio"],"yoast_head":"\nCharles Ventrillon | 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