Resumen de La parábola del centauro: José León Pagano y el modernismo
- español
En este arti?culo observamos que la concepcio?n del arte sostenida por Pagano se forja ya desde su juventud, cuando concurre como estudiante a la Academia de Bellas Artes de la ciudad de Mila?n. De este peri?odo rescatamos el contacto con la obra del artista Giovanni Segantini, cuyo misticismo y arrobamiento casi religioso hacia la naturaleza Pagano admira. Posteriormente, durante la estadi?a en la ciudad de Florencia consolida su relacio?n con el poeta nicaragu?ense Rube?n Dari?o, y afianza su adhesio?n a una este?tica simbolista que necesariamente se manifiesta en la produccio?n pla?stica y literaria de este peri?odo de fines del siglo XIX y principios del XX. Finalmente subrayamos el viaje que realiza a Espan?a en 1900. Alli? Pagano se entusiasma por el movimiento modernista catala?n. Este descubrimiento de los escritores catalanes resulta fundamental para la formacio?n de las ideas este?ticas de Pagano pues concibe que un renacimiento ana?logo se podri?a plasmar en la produccio?n arti?stica rioplatense. Cuando Pagano regresa a Buenos Aires en 1903, ha interpretado –y lo ha confirmado in situ al entrevistar, entre otros, al escritor Santiago Rusin?ol– las condiciones culturales que deberi?an darse para que nuestras artes tambie?n ingresaran victoriosas y renacientes a la modernidad. Es en este bagaje cultural, incorporado en sus dos primeros viajes a Europa, donde Pagano hallara? las herramientas cri?ticas para difundir en la ciudad de Rosario, hacia 1917 su primera conferencia dedicada a la evolucio?n y significado del arte en nuestro pai?s, inaugurando a partir de entonces una serie de escritos relacionados a desentran?ar lo propiamente argentino de nuestras expresiones arti?sticas.
- English
In this paper we observe that Jose? Leo?n Pagano’s conception of art began to take shape in his youth, when he attended the Fine Arts Academy in the city of Milan. From this period, we highlight his contact with the work of artist Giovanni Segantini, whose mysticism and almost religious ecstasy towards nature Pagano so admired. Later, during his stay in the city of Florence, he consolidated his relationship with the Nicaraguan poet Rube?n Dari?o and reinforced his support of the symbolist aesthetics that was necessarily manifest in the artistic and literary production of this period –end of the 19th Century and beginning of the 20th. Finally, we would like to stress the trip he made to Spain in 1900. There, Pagano was fascinated by the Catalan modernist movement. This discovery of the Catalan writers was essential for the development of Pagano’s aesthetic ideas because he believed that an analogous rebirth might materialize in the artistic production in the Ri?o de la Plata. When Pagano came back to Buenos Aires in 1903, he had interpreted –and he confirmed that in situ when he interviewed, among others, the writer Santiago Rusin?ol–, the cultural conditions necessary for our arts to enter modernity victorious and flourishing. In this cultural wealth, acquired during his first two trips to Europe, Pagano found the critical tools to celebrate his first conference about the evolution and meaning of art in our country in the city of Rosario around 1917, triggering a series of writings meant to unravel the Argentine essence of our artistic expressions.
