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2024-01-26
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Universidad Nacional de Educación a Distancia (UNED). Espacio Tiempo y Forma. Serie VII, Historia del Arte
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Resumen
María Dolores Casanova Teruel fue una pintora relevante en el contexto del arte contemporáneo español desde finales de los años sesenta hasta, aproximadamente, 1988. Sin embargo, su trascendencia se ha diluido con el tiempo. Dado el carácter narrativo y autorreferencial de su producción, este artículo aspira a reconstruir su trayectoria vital mientras se mantuvo activa en el espacio público. Para ello, se efectúa un análisis del diálogo biográfico-artístico en su obra, en el que sus memorias publicadas, eje vertebrador del discurso, se confrontan con sus creaciones pictóricas. El estudio también se sustenta en entrevistas a Casanova divulgadas en prensa y en otras inéditas a sus familiares y allegados, así como en material de archivo. La investigación demostrará una correspondencia casi exacta entre los diferentes episodios e intereses de su vida, registrados en su autobiografía, y su legado. No obstante, a su vez, el examen constatará que, donde el texto de la artista «miente», pasa con aparente indiferencia u oculta determinados momentos clave de su existencia, son sus pinturas las que revelan su «yo» más íntimo, que solo puede hallarse en su plástica y no en su crónica.
María Dolores Casanova Teruel was a relevant painter in the context of Spanish contemporary art, from the late 60s until approximately 1988. However, her transcendence has been diluted over time. Given the narrative and self-referential nature of her production, this article aims to reconstruct her life trajectory, while she was active in the public space. To do this, an analysis of the biographical-artistic dialogue in her work is carried out, in which her published memoirs, the backbone of her discourse, are confronted with her pictorial creations. The study is also based on both interviews with Casanova published in the press and other unpublished interviews with her family and friends, as well as archival material. The investigation will prove an almost exact correspondence between the different episodes and interests of her life, as recorded in her autobiography, and her artistic legacy. However, at the same time, the examination of those materials will confirm that, where the artist’s text «lies», shows indifference, or hides certain key moments of her existence, her paintings reveal her most intimate «self», and it can only be found in her art and not in her chronicle.
María Dolores Casanova Teruel was a relevant painter in the context of Spanish contemporary art, from the late 60s until approximately 1988. However, her transcendence has been diluted over time. Given the narrative and self-referential nature of her production, this article aims to reconstruct her life trajectory, while she was active in the public space. To do this, an analysis of the biographical-artistic dialogue in her work is carried out, in which her published memoirs, the backbone of her discourse, are confronted with her pictorial creations. The study is also based on both interviews with Casanova published in the press and other unpublished interviews with her family and friends, as well as archival material. The investigation will prove an almost exact correspondence between the different episodes and interests of her life, as recorded in her autobiography, and her artistic legacy. However, at the same time, the examination of those materials will confirm that, where the artist’s text «lies», shows indifference, or hides certain key moments of her existence, her paintings reveal her most intimate «self», and it can only be found in her art and not in her chronicle.
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María Dolores Casanova Teruel; pintura española del siglo XX; arte contemporáneo; autorreferencialidad; diálogo biográfico-artístico; autoría femenina, María Dolores Casanova Teruel; 20th century Spanish painting; contemporary art; self-referentiality; biographical-artistic dialogue; female authorship