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2023-02-13
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info:eu-repo/semantics/openAccess
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Universidad Nacional de Educación a Distancia (España). Espacio Tiempo y Forma. Serie VII, Historia del Arte
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Resumen
Este artículo tiene como objetivo analizar la labor de copia llevada a cabo por los artistas madrileños Julio Plaza y Elena Asins en el Museo del Prado en 1959 y 1963, y su posible influencia en sus posteriores trayectorias profesionales. Esta aportación documental permitirá una relectura de su período de aprendizaje, apenas esbozado en sus respectivas biografías, para constatar que obedece a una planificación conjunta que tiene su punto de partida en su asistencia como alumnos libres a diversos centros de la capital, en el marco de la cual se inscribe su presencia en las salas de la pinacoteca madrileña, y continúa en Alemania y Francia. Con todo este bagaje, se adentrarán en un período de búsqueda de su propia identidad en la que tendrán cabida tanto las nuevas corrientes experimentales como el legado de los grandes maestros.
This paper aims to analyse the work carried out by the artists Julio Plaza and Elena Asins as copyists at the Prado Museum in 1959 and 1963, and their possible influence on their subsequent professional careers. This documentation will allow us to re-examine their training period, which is barely mentioned in their respective biographies, and to verify that it followed a common plan, beginning with their attendance as unregistered students at various centers in the capital, coinciding with their presence in the Prado, and continuing in Germany and France. Against this backdrop, they will enter a period of searching for their identity, in which both the new experimental trends and the legacy of the great masters will have a place.
This paper aims to analyse the work carried out by the artists Julio Plaza and Elena Asins as copyists at the Prado Museum in 1959 and 1963, and their possible influence on their subsequent professional careers. This documentation will allow us to re-examine their training period, which is barely mentioned in their respective biographies, and to verify that it followed a common plan, beginning with their attendance as unregistered students at various centers in the capital, coinciding with their presence in the Prado, and continuing in Germany and France. Against this backdrop, they will enter a period of searching for their identity, in which both the new experimental trends and the legacy of the great masters will have a place.
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Elena Asins, Julio Plaza, Museo Nacional del Prado, arte tardofranquista, formación artística y ejercicio de copia, Artistic Learning and Copy Work, Elena Asins, Julio Plaza, Late-Francoism, Prado National Museum