UNA EXPLORACIÓN TÉCNICA ALREDEDOR DEL RETRATO

UNA EXPLORACIÓN TÉCNICA ALREDEDOR DEL RETRATO
JUAN MANUEL PIEZCHACÓN APONTE
Trabajo de grado para optar al título de :
Maestro en artes visuales con énfasis en expresión plástica
PONTIFICIA UNIVERSIDAD JAVERIANA
FACULTAD DE ARTES
CARRERA DE ARTES VISUALES
BOGOTÁ
2010
INTRODUCCIÓN
MARCO DE REFERENCIA
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1
BREVE HISTORIA DEL RETRATO
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Máscara de Jericó.
Aprox. 6000 A.C.
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Cabeza de Hamurabi.
Aprox. 2000 A.C.
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Cabeza de Sacerdote egipcio.
Aprox. 700 A.C.
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Alejandro Magno como Apolo.
Aprox. 200 A.C
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Busto de Julio Cesar.
Aprox. 50 A.C
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Retrato medieval de un noble y
su músico. Aprox. 800 D.C.
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Jan Van Eyck. 1400 D.C
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Inocencio X. Velázquez.
1650 D.C
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Autorretrato. Van Gogh.
1889 D.C.
5
ANTECEDENTES
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Santoyo
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Pintura de Alfredo Araujo
Santoyo (Detalle)
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Pintura de Frankilng Aguirre
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9
PRIMERA SERIE “GRITOS”
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Autorretrato – Ilustración
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REFERENTES “STRESSED”
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16
Detalle pinura de Giacometti
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Obra de Francis Bacon
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17
IMAGEN Y REPRODUCCIÓN
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Obra de Andy Warhol
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18
Obra de Andy Warhol
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19
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TERCERA SERIE “DIGITAL-INK“
Tramas con puntos
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Detalle autorretrato - Chuck
Close. Óleo Sobre lienzo
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Oscar Muñoz- Retratos sobre
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23
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MUESTRA
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J,2/'#Y3%.+G#5.'+#4$/+,+0'#'/#./2#253$5,24,7/#*'#./2#?$0$-32V2#+.92:#
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26
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CONCLUSIONES
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4$/+02/0'6'/0'H#3',/)'/023+'H#3'B'1,$/23#9#2*<.,3,3#/.')2+#O2%,",*2*'+#084/,42+:#!"#-32/#/@6'3$#*'#$%32+#
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*'#./#53$4'+$#*'#253'/*,>2&':#q/#53$4'+$#<.'#4$/(/@2H#5'3$#<.'#-324,2+#2#"2+#'/+'A2/>2+#*'#62'+03$+#
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53$5$/-$#3'0$623#"$+#'"'6'/0$+#*'K4$/+03.4()$+#*'#"2+#$032+#+'3,'+#9#*'#3'?'3'/0'+#4$6$#e24$/#5232#
27
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*'#"2#O,+0$3,2#*'"#230'#4$6$#F,24$6'vH#'"#53$4'+$#+'#4$/4'/037#'/#",%'323#'"#-'+0$#9#53$*.4,3#./#3'0320$#
4$65.'+0$#*'#"N/'2+#/'-32+#9#%"2/42+:#Y53'/*N#<.'#/$#'+#/'4'+23,$#.(",>23#6.4O$#4$"$3#5232#3'2",>23#./2#
$%32#4$/0./*'/0':#!"#032>$#5.'*'#3''65"2>23#'"#4$"$3#2+N#4$6$#'"#4$65.02*$3#3''65"2>2#'"#",'/>$:
;2#@"(62#+'3,'#5.'*'#)'3+'#4$6$#"2#4$/4".+,7/#53,/4,52"#*'#'+0'#032%2&$#*'#-32*$H#*$/*'#+'#'/4.'/032/#
,*'2+#9#5./0$+#*'#),+02#*'#"2+#$032+#+'3,'+:#;2+#*$+#5$+0.32+#+'#4$/0325$/'/#9#+'#43'2#./2#0'/+,7/#'/03'#
"$#2/="$-$#9#"$#*,-,02":#`232#""'-23#2#EJ,-,02"#L/MG#?.'#/'4'+23,$#'15'3,6'/023#'"#53$4'+$#*'#5,/023#9#'"#*'#
,".+0323#*,-,02"6'/0'#'/#"2+#+'3,'+#2/0'3,$3'+:#;2#,62-'/#+'#*'+4$65.+$#*'#?$362#<.'#'"#3$+03$#+'#4$/),3(7#
'/#./2#+'4.'/4,2#*'#/@6'3$+#032*.4,*2#'/#b^gg#+'""$+#5$3#3'0320$:#;2#023'2#*'#5$/'3#+'""$#5$3#+'""$H#+,#%,'/#
'32#./2#"2%$3#3'5'(()2H#?.'#0'3258.(42:#`232#4$/4".,3#'+0$+#3'0320$+#O,>$#?2"02#6.4O2#524,'/4,2#9#032%2&$#
*.3$:##YO$32#'"#3'0$#'+#'"#*'#'/4$/0323#+$5$30'+#9#620'3,2"'+#<.'#6'#+,3)2/#'/#'+02#'15"$324,7/#084/,42#
5232#2O$/*23#'/#'+2#+N/0'+,+#'/03'#"$#2/="$-$#9#"$#*,-,02":#L62-,/$#3'0320$+#42*2#)'>#62+#-32/*'+#4$6$#"2+#
-,-2/0'+42+#5.'+02+#'/#'+4'/2#*'#X,M#[./,>#'/#*$/*'#43'2#'"#6./*$#4$/#4O202332:!!
!+0'#'+#02/#+$"$#'"#4$6,'/>$#*'#6,#4233'32#53$?'+,$/2":#!"#3'4$33,*$#/$#0'36,/2H#'"#5371,6$#425,0."$#+'3=#
'"#*'#25",423#"2#'15'3,'/4,2#'/#./2#/.')2#+'3,'#9#O24'3#./#O$6'/2&'#2#$03$+#+.&'0$+:#o.')$+#3'0320$+#'/#
*,?'3'/0'+#+$5$30'+#<.'#6'#5'36,02/#53$?./*,>23#'/#"2#'15"$324,7/#0'4/,42#9#'/#6,#53$4'+$#4$6$#23(+02:#
28
22
Ver la obra de Vik Muniz titulada “World Map” del año 2008: (http://www.fortesvilaca.com.br/blog/arquivo/vik-munizno-museu-inima-de-paula/ ) pagina web consulatada el 8 de noviembre de 2010
BIBLIOGRAFÍA
YZeqIH#J,2/':#L;'&*$"1=-+$O$F*<*#'?0&+7#o.')2#U$3MD#Z2/*$6#k$.+'H#]ggb:
eYTWoH#c32/4,+:#Q'20&O$F*/1'/0+$D$"-/011*/1'/0+:#[2*3,*D#!*,0$3,2"#J'%20'#I:YH#\__^:
e!odY[LoH#s2"0'3:#L;+2-1+0+$Y&/*11-4,;)0+$Y:#e.'/$+#Y,3'+D#h2.3.+H#\_a_:
;LIh!ZH#[23C/:#I'$;4'G*&$P0/0G1>%2'$*&$#'$2-#/-1'$);G;/'#7#e234'"$/2D#`2,*$+H#\__i:
;WZJH#d26'+:#Z'0320$#*'#F,24$6'v:#[2*3,*D#[24O2*$#;,%3$+:#]gg]
[YJYZLYFY#T26,"$:#F*)*+$B02;'#*+O$;&P'&2;'($P'4;#;'$D$204-&;)'):#e2332/<.,""2D#q/,)'3+,*2*#*'"#o$30'H#
]ggb:
[!hhYLI#X2"83,':#I0-<1*($+;*/*$+;G#0+$)*$,;&/-1':#X'3+2""'+D#Y30#;9+H#]gggP#5#]^a
W;LXYZ!IH# Z$+2# [23N2:# 8#$ F*/1'/0$ 2040$ 4*);0$ )*$ 20&02;4;*&/07# Z'),+02# ;=5,># L/0'3/24,$/2"H# # X$"# \]^#
QJ,4,'6%3'#\__^R#`#]a#€#b_
ZYcW;IH#d:#c:#A;+/01;'$)*#$"1/*7#e234'"$/2D#W5(62H#f#'*,4,7/H#]gg]:#h$6$#\#5#bi
IY;XYh#d.2/#Q!*:R:#A;+/01;'$)*#$"1/*$B'#<'/:#e234'"$/2D#I2")20#!*,0$3'+H#\_i^:#h$6$#\#5#ji
IWqFq!uH#[23,'K;$$5:#A;+/01;'$L*$#'$M0/0G1'N':#[2*3,*D#!*,4,$/'+#T=0'*32H#*84,62#'*,4,7/H#]gg^:
INFOGRAFÍA
Ol5Dmmnnn:3'0320$+2"25,>:-2"'$/:4$6m53$*.40$+\f\ii]^:O06%
Ol5Dmmnnn:n,M,5'*,2:$3Ol5Dmmnnn:?$30'+),"242:4$6:%3m%"$-m23<.,)$m),MK6./,>K/$K6.+'.K,/,62K*'K52."2m
INDICE
INTRODUCCIÓN........................................................................................... 1
BREVE HISTORIA DEL RETRATO................................................... 2
ANTECEDENTES......................................................................................... 6
PROCESO PROFESIONAL................................................................ 8
PRIMERA SERIE “GRITOS“.................................................................... 10
SEGUNDA SERIE “STRESSED“........................................................ 14
TERCERA SERIE “DIGITAL-INK“......................................................... 20
CONCLUSIONES.......................................................................................... 27
BIBLIOGRAFÍA................................................................................................ 31
INFOGRAFÍA...................................................................................................... 31
31