{"id":66513,"date":"2018-01-08T00:04:33","date_gmt":"2018-01-07T23:04:33","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=66513"},"modified":"2022-03-02T09:02:04","modified_gmt":"2022-03-02T08:02:04","slug":"tallar-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/tallar-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Tallar | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Tallar | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Carving | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Esclavo
Esclavo Despertando\u00a0(M\u00e1rmol, 1519-1536)\u00a0|\u00a0Galleria dell\u2019Accademia, Florencia<\/span><\/figcaption><\/figure><\/p>\n

Cuando en 1923 Sigfried Giedion<\/strong><\/a> pronunci\u00f3 su discurso frente a los estudiantes de dise\u00f1o durante la semana de apertura de la Bauhaus, su mensaje principal fue el de<\/p>\n

\n

\u201cescuchar al material y destapar la vida oculta de lo amorfo\u201d.<\/strong><\/p>\n<\/blockquote>\n

Para destapar el arte atrapado en la materia no hay que excavar sino tallar, por que tallar es cortar, pero tambi\u00e9n es dibujar, destacando lo importante respecto de lo superfluo. Constantin Br\u00e2ncu\u0219i<\/a><\/strong> explic\u00f3 que taller era el verdadero camino hacia la escultura. As\u00ed lo demuestra en las diferentes versiones de El Beso<\/strong><\/a>, su respeto por el bloque era tal que estaba decidido a quitar la cantidad m\u00ednima de piedra para representar a una pareja abrazada. El esclavo inacabado de Miguel \u00c1ngel tambi\u00e9n da testimonio de esta manera de actuar.<\/p>\n

La pieza del reo, una de las cuatro que decorar\u00eda la tumba del Papa Julio II, parece intentar escapar de la masa de piedra que lo atrapa, como si el lento tallado del maestro \u00fanicamente retirase la materia que lo contiene. Ni el mejor artista tiene idea de lo que contiene en potencia un bloque de m\u00e1rmol dentro de su masa, declar\u00f3 el propio Miguel \u00c1ngel, dejando claro que en el bloque p\u00e9treo hay una escultura latente y que el escultor no es su creador, sino \u00fanicamente su libertador.<\/p>\n

Al fin y al cabo como en El Beso de Br\u00e2ncu\u0219i<\/strong> la materia abraza a la forma y sus caracter\u00edsticas como la dureza, la textura o el peso no deben s\u00f3lo verse sino sentirse para representar la verdadera naturaleza del material. Puede que cuando Br\u00e2ncu\u0219i afirmaba que el artista debe saber c\u00f3mo sacar el ser que est\u00e1 dentro de la materia, no se refiriese a la pieza o escultura sino a la energ\u00eda interior del bloque, a su esencia, su verdadera naturaleza, que en ocasiones ser\u00e1 un esclavo, en otras un bloque geom\u00e9trico y en otras una pareja imposible de separar.<\/p>\n

\"Tumba
Tumba De Benei Hezir Hazir |\u00a0Autor: Geagea | Fuente: wikipedia.org<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n.\u00a0Abril\u00a02016<\/p>\n

[:gl]

\"Esclavo
Escravo Despertando\u00a0(M\u00e1rmol, 1519-1536)\u00a0|\u00a0Galleria dell\u2019Accademia, Florencia<\/span><\/figcaption><\/figure><\/p>\n

Cando en 1923 Sigfried Giedion<\/strong><\/a> pronunciou o seu discurso fronte aos estudantes de dese\u00f1o durante a semana de apertura da Bauhaus, a s\u00faa mensaxe principal foi o de<\/p>\n

\n

\u201cescoitar ao material e destapar a vida oculta do amorfo\u201d.<\/strong><\/p>\n<\/blockquote>\n

Para destapar a arte atrapada na materia non hai que escavar sen\u00f3n tallar, por que tallar \u00e9 cortar, pero tam\u00e9n \u00e9 debuxar, destacando o importante respecto do superfluo. Constantin Br\u00e2ncu\u0219i<\/a><\/strong> explicou que taller era o verdadeiro cami\u00f1o cara \u00e1 escultura. As\u00ed o demostra nas diferentes versi\u00f3ns do Bico<\/strong><\/a>, o seu respecto polo bloque era tal que estaba decidido a quitar a cantidade m\u00ednima de pedra para representar a unha parella abrazada. O escravo inacabado de Miguel \u00c1ngel tam\u00e9n d\u00e1 testemu\u00f1o desta maneira de actuar.<\/p>\n

A peza do reo, unha das catro que decorar\u00eda a tumba do Papa Xulio II, parece tentar escapar da masa de pedra que o atrapa, coma se o lento tallado do mestre unicamente retirase a materia que o cont\u00e9n. Nin o mellor artista ten idea do que cont\u00e9n en potencia un bloque de m\u00e1rmore dentro da s\u00faa masa, declarou o propio Miguel \u00c1ngel, deixando claro que no bloque p\u00e9treo hai unha escultura latente e que o escultor non \u00e9 o seu creador, sen\u00f3n unicamente o seu liberador.<\/p>\n

\u00c1 fin e ao cabo como no Bico de Br\u00e2ncu\u0219i<\/strong> a materia abraza \u00e1 forma e as s\u00faas caracter\u00edsticas como a dureza, a textura ou o peso non deben s\u00f3 verse sen\u00f3n sentirse para representar a verdadeira natureza do material. Poida que cando Br\u00e2ncu\u0219i afirmaba que o artista debe saber como sacar o ser que est\u00e1 dentro da materia, non se referise \u00e1 peza ou escultura sen\u00f3n \u00e1 enerx\u00eda interior do bloque, \u00e1 s\u00faa esencia, a s\u00faa verdadeira natureza, que en ocasi\u00f3ns ser\u00e1 un escravo, noutras un bloque xeom\u00e9trico e noutras unha parella imposible de separar.<\/p>\n

\"Tumba
Tumba De Benei Hezir Hazir<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n.\u00a0Abril\u00a02016<\/p>\n

[:en]

\"Esclavo
Slave Waking up (Marble, 1519-1536)\u00a0|\u00a0Galleria dell\u2019Accademia, Florencia<\/span><\/figcaption><\/figure><\/p>\n

When in 1923 Sigfried Giedion<\/strong><\/a> delivered his speech opposite to the students of design during the week of opening of the Bauhaus, his principal message was of<\/p>\n

\n

\u201clistening to the material and to uncover the secret life of the amorphous thing\u201d.<\/strong><\/p>\n<\/blockquote>\n

Uncovering the art caught in the matter it is not necessary to excavate but deal, for that deal is to cut, but also it is to draw, standing out important I concern of the superfluous thing. Constantin Br\u00e2ncu\u0219i<\/a><\/strong> I made clear that workshop was the real way towards the sculpture. This way it demonstrates it in the different versions of The Kiss<\/strong><\/a>, his respect for the block was such that was determined to remove the minimal quantity of stone to represent an embraced pair. The unfinished slave of Michael \u00c1ngel also gives testimony hereby of acting.<\/p>\n

The piece of the convict, one of the four who would decorate the tomb of the Pope Julio II, seems to try to escape of the mass of stone that catches it, as if the slow one carved of the teacher only was withdrawing the matter that contains it. Not even the best artist has idea of what contains in power a block of marble inside his mass, the own Michael \u00c1ngel declared, clarifying that in the stony block there is a latent sculpture and that the sculptor is not his creator, but only his liberator.<\/p>\n

In the end like in Br\u00e2ncu\u0219i<\/strong>‘s Kiss the matter embraces to the form and his characteristics as the hardness, the texture or the weight have not to only turn but to feel to represent the real nature of the material. Is it possible that when Br\u00e2ncu? I was affirming that the artist must know how extracts the being who is inside the matter, not refiriese to the piece or sculpture but to the interior energy of the block, to his essence, his real nature, which in occasions will be a slave, in others a geometric block and in others a pair impossible to separate.<\/p>\n

\"Tumba
Tomb of De Benei Hezir Hazir<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Architect
\nSan Sebasti\u00e1n.\u00a0April\u00a02016<\/p>\n

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

[:es] Cuando en 1923 Sigfried Giedion pronunci\u00f3 su discurso frente a los estudiantes de dise\u00f1o durante la semana de apertura de la Bauhaus, su mensaje principal fue el de \u201cescuchar al material y destapar la vida oculta de lo amorfo\u201d. Para destapar el arte atrapado en la materia no hay que excavar sino tallar, por […]<\/p>\n","protected":false},"author":31,"featured_media":88150,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6657,199,7267,508,668,4285,9472,6567,3929,1278],"class_list":["post-66513","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-italiana","tag-bauhaus","tag-constantin-brancusi","tag-escultura","tag-historia","tag-inigo-garcia-odiaga","tag-michelangelo-buonarroti","tag-miguel-angel","tag-sigfried-giedion","tag-teoria"],"yoast_head":"\n[:es]Tallar | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Tallar | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Carving | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Tallar | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Tallar | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Carving | \u00cd\u00f1igo Garc\u00eda Odiaga[:]\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/tallar-inigo-garcia-odiaga\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]Tallar | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Tallar | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Carving | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - 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