''Bily Conejo: en los límites de la marginación'', última exposición de José Legazpi Gayol en la sala del LAUDEO (Edificio histórico de la Universidad de Oviedo, Asturias) / "Bily Conejo: in the limits of the marginalization", Jose Legazpi Gayol's last exhibition in the room of the LAUDEO (historical Building of the University of Oviedo, Asturias)

 

Visitas guiadas a la exposición: 

Viernes 26 de febrero, de 18:00-20:00 horas.

Visits guided to the exhibition: 

Friday on February 26, of 18:00-20:00 hours.

-Título/Title: Bily Conejo: en los límites de la marginación. / Bily Conejo: in the limits of the marginalization.

-Título alternativo/Alternative title: Un mundo alternativo en el que vivir (aludiendo a la marginalidad en la que viven, conformemente, los personajes) / An alternative world in which to live (it alludes to the marginality where the figures live)

-Sala de exposiciones del LAUDEO (edificio histórico de la Universidad de Oviedo). / Room of exhibitions of the LAUDEO (historical building of the University of Oviedo).

-Exposición temporal, del 16 de febrero al 16 de marzo de 2016. / Temporary exhibition, from February 16 to March 16, 2016.

José Manuel Legazpi Gayol (nacido en 1943) es un pintor y escultor nativo de Bres (Taramundi, Asturias). El artista, forjado de manera autodidacta, estudió Filosofía y Teología hasta desdeñar el oficio de sacerdote; momento en el que viaja a Jordania y contacta con el mundo de la Arqueología y el dibujo de piezas procedentes de las excavaciones. Su primera muestra la realiza en 1960, en la Casa de Cultura de Vegadeo. Desde entonces, su obra fue protagonista en más de veinte exposiciones individuales, sin dejar de lado las múltiples muestras colectivas en las que ha participado, certámenes y premios conseguidos. Cabe destacar su importancia para la Historia del Arte asturiano, pues varias colecciones pertenecientes a museos, centros, colecciones y diputaciones enseñan, ya de forma permanente, el arte de Legazpi. 

Jose Manuel Legazpi Gayol (born in 1943) is a painter and native sculptor of Bres (Taramundi, Asturias). The artist forged of a self-taught way, studied Philosophy and Theology up to disdaining the priest's trade; moment in the one that travels to Jordan and contacts the world of the Archaeology and the drawing of pieces proceeding from the excavations. His first sample realizes it in 1960, in the House of Vegadeo's Culture. Since then, his work was a protagonist in more than twenty individual exhibitions, without leaving of side the multiple collective samples in which it has taken part, contests and obtained prizes. It is necessary to emphasize his importance for the History of the Asturian Art, so several collections belonging to museums, centers, collections and deputations teach, already of permanent form, Legazpi's art. 

El artista, con una producción tremendamente nutrida y multiforme, en Bily Conejo enseña el universo de la marginación social a través de la indigencia, el trabajo obrero, la homosexualidad, el alcoholismo o la prostitución. Las obras no necesitan una cartela explicativa: el espectador puede reconocer la condición de buena parte de los personajes. Los individuos se enmarcan solos, menos frecuentemente en pareja o acompañados de un animal, haciendo referencia a una forma de vida al margen del idealismo. Los fondos prácticamente neutros inquietan la imaginación del público. Pero de vez en cuando, mínimos detalles como rendijas o botellas descubren la profesión o la situación concreta de los hombres y mujeres representados. Sin embargo, el único propósito de Legazpi es que cada persona interprete a su modo las escenas contempladas. La descarnada realidad en la que se encuadran los protagonistas se desliga, entonces, de cualquier intención por parte del artista de acercarse a un momento contemporáneo. Son hombres atados a su falta de integración social, debido a la causa que sea.

The artist, with a tremendously nourished and multiforme production, in Bily Conejo teaches the universe of the social marginalization across the poverty, the working work, the homosexuality, the alcoholism or the prostitution. The works do not need an explanatory cartela: the spectator can recognize the condition of good part of the prominent figures. The individuals place alone, less frequently in pair or accompanied of an animal, referring to a form of life to the margin of the idealism. The practically neutral funds worry the imagination of the public. But occasionally, minimal details like splits or bottles discover the profession or the situation makes concrete of the men and women represented. Nevertheless, the Legazpi's only intention is that every person interprets to his way the contemplated scenes. The emaciated reality in which the protagonists are fitted comes undone, then, of any intention on the part of the artist of approaching a contemporary moment. They are men tied to his lack of social integration, due to the reason that is. 

Por otro lado, la técnica también es muy importante para recrear visualmente el realismo y la frialdad de las composiciones. Especialmente es notable que los personajes y motivos diversos se destacan en relieve sobre el fondo, provocando un dramatismo creado por sus volúmenes. Las figuras se independizan de su propio mundo para aproximarse al espectador mediante el recurso escultórico y la compañía de las sombras que genera. En resumen, se mezclan las propiedades de la pintura y la escultura con el propósito de innovar y confeccionar obras que rompen con la clasificación tradicional; muy al gusto de Legazpi. 

On the other hand, the technology also is very important to recreate visually the realism and the coldness of the compositions. Specially it is notable that the prominent figures and diverse motives are outlined in relief on the bottom, provoking a dramatic quality created by his volumes. The figures become free of his own world to come closer the spectator by means of the sculptural resource and the company of the shades that it generates. In short, there are mixed the properties of the painting and the sculpture by the intention of innovating and making works that break with the traditional classification; very to Legazpi's taste. 

Iconology of '' Cante hondo '' by Julio Romero de Torres

Julio Romero de Torres is a cross-thematic nineteenth-century painter, however, usually framed in the context of Andalusian folklore.

Big fan of the actual Andalusian traditions such as bullfighting but, above all, the flamenco singing and song, were of his great inspirations to paint. In short, this Andalusian lyricism that is so characteristic of his work, be explained by explaining the key '' Cante hondo ''´.

The painting sums up the idea of this genre, breaking its structure in various shapes and portraying the various ideas conveyed by this kind of music.

The central character is shown completely naked. This is very common in painting Julio Romero, full of sensuality and eroticism, but here also the condition of divinity that has held this woman. It is the goddess of fate, or simply Goddess of Destiny (with negative connotations, as currently understood by '' fatal ''). It is destiny that occurs in people who are driven by passion. His attributes are the guitar, mantilla and comb; It is an Andalusian goddess. It is the divinity that also serves as the linchpin to cante hondo and therefore the composition. Although the pubic hair, in addition to their heels, give the image naturalism and sensuality, respectively, the truth is that your face reflects a major concern; It is concerned that uncontrolled human acts carried consequences, as its shows, fatal name. And they are inevitable.

It seems to rise on a silver throne with reliefs of classic cut that, if seen with detail, they are still mundane scenes inspired by other paintings of the author.

To the right of Doom embodiment of love couple appears, representing a woman dressed in light clothes releasing her breast as a sign of passion suffering she and her lover as they kiss then surely do love. The lass dressed in green, a color that alludes to life and fertility. The color symbolism Julio Romero also plays an important role, as will be seen later.

The peaceful and almost lewd picture changes completely with the situation shown below, where the former wife is slumped on the floor, due to the deadly attack received by his partner. This grabs the knife hard, bloody, and holds hair in despair. It is the personification of jealousy. She died because her neck was biased, which is implied by the blood around his head, and chest stains which also falls a rosary. God will rescue his soul. On the other hand, he is dressed in black, referring to the funeral character of the facts; green dress totally contrary to the previous scene.

The last scene of this interesting composition showing the woman killed by the white shroud, alluding to his death but also their purity as a victim. It lies in a coffin while flanking two characters. The left is another young woman, possibly a close relative, perhaps his sister, or perhaps a friend who regrets her dead. On the right is a guy who does not identify at all with the murder. It could also be a relative or perhaps the lover on the woman gave her life unintentionally. And over the deceased, a huge black greyhound it stands; another possible attribute of Doom, as the race of greyhounds is typical of Spain, and hence of Andalusia. It may serve as a psychopomp Julio Romero, not only because of its position, but also its color; as Anubis of ancient Egypt, the canine dark soul rises to heaven.

In the background the Cordoba landscape, so frequently seen in the painter. And in particular two scenes, which appear daily acts of simple cut, which could have to do or not with the main significance of the work. Of these, the most particular is on the left, with the woman lying on the edge of a man who seems to succumb to the ground. You may try an alternate version of the image of jealousy seen before, but it is difficult to establish a meaningful connection to the small scene right, so this part of the composition remains in doubt as to its meaning.

The painting in the Cordoba Museum of Julio Romero de Torres

In English: Analysis stylistic and iconographic of Portico of Glory in Santiago de Compostela, and later influences

-Presentation.

The Portico de la Gloria is the most recognized work of the famous Master Mateo, the result of his extensive religious and expertise. This allowed him to create the first Romanesque portal that would influence the early Gothic, originally from France. Therefore, it notes that this is a work tardorrománica essentially transition between one style and another. The porch was commissioned by King Ferdinand II of León to be installed in the Cathedral of Santiago de Compostela.

Depth Analysis of the different elements (iconographic and stylistic issues).

Dividing the work by architectural parts are analyzed. Each part will be explained from both a stylistic and iconographic perspective, and both will be integrated as they develop. Thus, they also differentiate between the Old Testament and the New Testament, two axes also help you understand the cover.

Door left / right of the left pillar: Old Testament.

The left front door, and the pillar of the same position, mainly representing the Old Testament, that is, those years that Christ had not been designed yet. This is an era dominated by the prophets who preach the word of Yahweh to the Jewish people, a people who, however, is suppressed by the Mosaic Law. The Mosaic Law was established by the Prophet Moses after having received directly from God, and was intended to strictly follow a set of principles that Jews, in theory, could not meet, thus necessitating a Redeemer to help them save themselves from sin committed.

Thus, in the plinth of the left door I appear represented a lion slips through the arms of the man trying to grab it. It symbolizes that in the beginning of time, man was not able to master their most primitive impulses.

Above the capitals topping the columns supported by the plinth, to Obadiah and Amos shown holding their holy books. They are carved with an elongated body canon, in order to integrate into the length of the shafts. However, it is well proportioned figures. This adaptation of the body of the characters to the columns is very common in Gothic art, and the Portico de la Gloria serves as an influence. Amos, on the other hand, turns her head in conversation with Obadiah. This interaction between characters is also common in the Gothic, and has its precedents in the Romanesque transition. Thus, the characters are humanized. On the other hand, the long beards of the prophets identified as such, due to the longevity of the word they preach.

The plinth of the pillar, holding the columns to the right of the door, has more length than before, and is decorated with heads of taps. It is an allegory of heresy, that is, those doctrines which are contrary to the dogma of Christianity. By this fact they are represented as chimeric, remote creatures of Mother Nature, the primeval Christianity. The theme of this plinth no longer has to do with the Old Testament, as heresies begin to occur from the legalization of Christianity in the Roman Empire by Constantine the Great, held at the Ecumenical Council of Nicaea (AD 325 ). However, the theme from above, from all columns, belongs to the Old Testament again. Thus, if the pillar is divided into two parts, one must distinguish between the Major and Minor Prophets.

Therefore, on the left shows the Minor Prophets, Hosea and Joel, looking and similar to previous characters attitude. They also claim their representative books. On the other hand the Major Prophets, which will be explained later be represented.

Jewish people

Finally, crowning this door archivolts are erected. In the upper arch it symbolized the Jewish people, oppressed by the rigidity of the Mosaic law, represented by the torus hindering their movements.

At the bottom you can see various characters of the Old Testament, as is occurring the Anastasis, or Descent of Christ into Limbo. Adam and Eve are the characters flanking Jesus, so it would be a representation of the Anastasis dogmatic kind. Adam remains praying while Eva is surprised by the sudden arrival of Christ will come to save their souls. Of course, this does not have to do with the Old Testament.

Central Door: New Testament.

Although the pillar on the left, which holds the central door, exhibits figures of the Old Testament really the subject of this space belongs to the New Testament, biblical times where it already has the presence of Christ and all that this entails.

Thus, in the plinth Mullion to a man holding in his arms a pair of lions with open jaws would be shown. It can symbolize overcoming the lion Samson with the extraordinary strength that God breathed, as the position bearing the arms holding the beast is conventional from the early Christian art. But, perhaps it intended to allude to the triumph of faith over heresy narrated in the previous plinth.

The Father, the Son and the Holy Spirit over the aforementioned mullion, which represents in its capital to the Trinity, made up of three personalities of God rises.

Jesse

David

Solomon

Mary

The shaft, on the other hand, does include the Tree of Jesse, that is, the genealogy of Christ. It is the first Tree of Jesse represented in the Spanish territory. The stump of Jesse, which would be represented by a hodgepodge of bundles of branches, including the Jesse rolled himself, David King, who is represented bearded, making clear that his age is born. Followed by his son, King Solomon, this change in beardless be closer in history. Finally he tops stem the Virgin Mary, mother of Jesus Christ.

Traces

The mullion is something damaged in the part symbolizes Jesse, because pilgrims ritually, introduced his fingers for a few small drops of stone that were increased to form several deep holes.

On the other hand, subject to the capital of the Trinity stands to Santiago Apostle seated, enthroned in a chair flanked by a pair of lions, a symbol of power and protection. With his right hand grasps a bracket in which read "I sent the Lord", alluding to his preaching in Hispania; on the other hand supports a staff topped by the shape of the Greek letter 'tau' '; a staff like that then used the Archbishops of Santiago and trimming her head a halo of bronze glass cabochons, only metal part in the embedded gate between her and the mullion.

Over a capital Santiago with the Temptations of Christ in relief, formed by a scene Jesus is threatened by a chimerical creature, winged angel, Lucifer, tail lion or bull and grotesque face and quite undefined shown. To protect yourself, Jesus holds a poster perfectly phrase 'vade Sathanas' distinguished', ie '' Begone, Satan. ''

Presides the tympanum seated Christ impressive showing his wounds, a sign that was saved by the power of their faith and trust in God. It is the sign of the Apocalypse of John, the Evangelist. It is crowned and representative cross nimbus. Censing angels flanking him with an awkward position, and sides of tetramorfos: San Juan with eagle, San Mateo with the angel wings, Luke with the bull and San Marcos with the lion.

The apocalyptic vision continues with angels bearing the Arma Christi.

Those who are placed to the left of Christ argue Column of Flagellation, the True Cross and the Crown of Thorns.

The right carrying the nails, the spear, the pitcher and the judgment and the Scourge and the Hammer. Both angels and evangelists are attributed to other professionals in the workshop of Master Mateo, due to the coarseness of the size being compared with that of Matthew, though undoubtedly exceptional anyway.

The people of Israel

Christian People

The people of Israel and the Christian People: On top of these angels, located in the background of the composition, the two key towns in the Bible. Both are redeemed peoples seeking God's forgiveness in his report.

In the archivolts eventually they represent the 24 elders of Revelation, busy tuning their instruments to start music in honor of the Lamb.

A couple of musicians play the same instrument

Young vial and harp

Some share the same instrument and others also argue vials, representing the tops of perfume mentioned San Juan. They are represented with great realism and mobility; foreshortening even realize to talk and look.

Left right pillar: Old Testament (Major Prophets).

The left pillar still belongs to the Old Covenant, not the New, as the theme of Maiesteas Domini, tectonically despite holding a part of said subject. Thus, they continue to appear prophets, although those located further to the right are Major Prophets, with greater recognition Minor, ie, Obadiah, Amos, Hosea and Joel.

In this way, it symbolizes Jeremiah, Daniel, Israel and Moses with their respective books. His sculptures are worked even better than those of other preachers; individualized faces clearly, textures are polished and well worked, while the folds of the garments are quite realistic, brewing, as always, the Gothic that is implanted. However, the position of support of Jeremiah is unreal, as you bend your knees strangely to lean on the base of the spine. A similar but less known is given in Israel. Anyway, the virtuosity of the set allows to attribute it to Maestro Mateo, as the case of Christ the eardrum, or seated Santiago Apostolate.

Meanwhile, the faces, even transmit a certain pathos, do patent an innovation in expressiveness, however, it becomes anti-naturalistic, especially in the smiling face of beardless prophet Daniel. This is another feature of Romanesque transition. These features are explained, and others then developed, will be refined in the Gothic, with the aim of achieving a greater realism. Finally, note that the colors of this set is the best preserved of the porch, because over the centuries deteriorated enough paint work, which was colored entirely, something common in both the Romanesque and Gothic.

Prop: New Testament.

The right pillar continues the story of the New Testament.

Now, in the plinth they stand the deadly sins, being represented as different beasts, including the head of a bearded man stands. It is difficult to identify each figure, although it is possible that the porcupine symbolizes the sin of pride, because vain always fear that your pride is attacked, and its defense against it can tonarse hurtful. On the other hand, the creature that takes something in the mouth can symbolize greed and lust for eating without any need.

And on top of the columns with the apostles appear. Those on the left are identified with St. Peter, St. Paul, James, and John the Evangelist. Those on the right are St. Andrew and St. Matthew. Of the former, it is well recognized attributes, at least in the majority, as the keys to Heaven, San Pedro. In the case of James the Great, who was re-enacted in these columns, the staff of pilgrimage, his own iconography stands out. Finally, it is well distinguishes the eagle San Juan lying at his feet. This Santo is very important because it provides cover the iconographic theme.

Finally, before going through the door on the right, the last columns pillar representing San Andrés and San Mateo. Although there are some key attributes, it is true that it is interesting to mention clothing decoration, formed by incised palmettes. This decoration is present in the clothes of other characters too, and it shows the hard work and attention to detail of Maestro Mateo. Also noteworthy is the bright pink face of Matthew, which is very well preserved and blue eye color polychrome.

Right Door: New Testament.

The iconography of the right door of the Portico de la Gloria is formed by the representation, in the plinth attached to the wall, of the victory of man over the lion, an allegory of the triumph of man over the irrational, dogmatic loss values and the inclination to sin, as had been seen in previous media. If in the first plinth, the left door, the lion escaped from the man, now it can capture with no problem. Meanwhile, a smiling creature, which could be a tap seems to rejoice at the event. This scene ends with the line of efforts that man should do to succeed and earn salvation.

Above, the Apostles Thomas and Bartholomew, whose attributes certainly were not represented appear.

But more interesting is what is symbolized in the archivolts, that is, the Last Judgment. It appears above Christ and under, San Miguel, psychopomp in Christianity par excellence in the keystone. Both divide the arc, showing the saved in his left hand and condemned on the right.

Those who rise to the Kingdom of God are brought there by angels in a friendly attitude.

Meanwhile, they should go to Hell are forced to suffer torture by grotesques, serving Satan. In particular, it can stand out the horrifying figure that bites the arms of the condemned, who also drag and seems to devour.

Other figures.

Unconnected to the doors themselves, some figures also relate lie.

He stresses the pair of angels on either side of the cover, blowing the trumpets heralding the Apocalypse.

Also present are several other angels, and in this case, would be one located above Moses, who holds a scroll where it is predicted that the Virgin Mary born the Savior.

-Influence later:

The Portico de la Gloria and Matthew's style influenced the evolution towards naturalism of Spanish Romanesque that falls to the twelfth and thirteenth centuries. According to historian Begoña González, the influence of Maestro Mateo expanded by Minho basin following the construction of the churches of San Juan de Portomarín and San Esteban de Ribas de Miño, O Saviñao.

 San Juan de Portomarín 

The first one by all indications was raised by a workshop formed by disciples of the school of Matthew, after finished the construction of the Cathedral of Santiago to 1210. These two churches are characterized by a complex sculptural decoration featuring a light kinship with the Santiago Cathedral. In one of the doors of the temple of Portomarín a set of twenty-four figures very similar to the Portico of Glory elderly falls.

San Esteban de Ribas de Miño

In San Esteban there is a similar image but instead the musicians are reduced to only seven. From these two centers the influence of the school of Compostela unfolds along the banks of the river Minho time though shrinking and shrinking. The use of plant motifs, geometric decoration and checkered designs are characteristic of this aspect.

Santa María de Camporramiro

This legacy can be seen in churches Pesqueiras Santa Maria, Santa María de Camporramiro or San Juan de Cova. 

San Vicente de Ávila

Outside the borders of Galicia influenced the Basilica of San Vicente de Ávila, no more to see the relationship of the western front porch with Compostela.

Church of San Juan del Mercado, Benavente

Zamora also affects churches, such as Benavente, where the covers and sculptures are very similar to the work of Maestro Mateo in Compostela, where even the angels of the mochetas adopt the same positions as in Santiago.