Carmen González

Nuestra contribución analiza la relación entre arte contemporáneo y sociedad atendiendo a la evolución experimentada últimamente en los espacios de recepción del arte y la creciente intervención artística en espacios urbanos. Esta circunstancia ha propiciado un cambio de tendencia como reacción al distanciamiento entre arte y sociedad. Desde el siglo XX la producción artística ha tendido hacia la especialización y manejo de códigos específicos, lo que motiva una restricción de su ámbito de acción a lugares prefijados para su distribución y consumo. Estos espacios concretos, como centros de arte o galerías privadas, aunque puedan favorecer las condiciones para presentar o comercializar cierto tipo de obras artísticas, también determinan la mirada del espectador e interfieren en el contacto directo de la obra con el público. Encapsuladas en lugares excepcionales, las obras artísticas se han alejado de la experiencia de la vida cotidiana. Sin embargo, en estas primeras décadas del sigl...

The aim of the didactics of color is to create a connection, a state of harmony between the observable color and color which is created. This objective unfolds in the teaching methods employed. On one hand, analytical observation must be taught, allowing the gaze to distinguish different shades of color, to organize hierarchically levels of light and darkness and to evaluate subtleties in the saturation of hues. On the other hand, rigorous instruction in color mixing must ensure that the observable color, that is, the desired color, can be approached in an intuitive and precise way. In this article, the authors discuss the difficulties faced teaching color to student artists and how digital tools can be used for training the concept of observation and the analysis of color. These tools allow color schemes to be created. Here the authors discuss how these tools can be applied, based on the experience obtained in introductory painting classes involving students from the University of Salamanca.

RESUMEN:
Clara Peeters fue una pintora activa en Amberes entre 1607 y 1621. Su obra, centrada en la representación de naturalezas muertas, es reflejo de la cultura material, del gusto y los intereses de una época y aunque fuertemente arraigada en la tradición artística de aquel momento, su pintura aporta sutiles rasgos distintivos. Desde la perspectiva contemporánea algunos de esos rasgos propios suponen innovaciones que justifican que se emprenda una revisión de la relevancia de una artista con una visión profunda y moderna de las posibilidades de la pintura de su tiempo. En este artículo se analizan algunas características de la obra de Peeters a partir de la exposición que le ha dedicado el Museo del Prado. Teniendo en consideración el conjunto de las obras expuestas, se establecen conexiones con otras obras desde las cualidades específicas de la pintura de objetos y cosas.

ABSTRACT:
Clara Peeters was an artist who worked in Antwerp between 1607 and 1621. Her work, focused on the representation of still lifes, is a reflection on material culture, taste, needs and interests of an era. Although deeply rooted in the artistic tradition of that time, her painting brings subtle distinctive features. From our perspective of contemporary viewers, some of these features are innovations that justify a review of the relevance of an artist with a deep and modern vision of the possibilities of the painting of her time. Based on the exhibition that the Museo del Prado has dedicated to her art, this article analyzes some characteristics of Peeters’ work and establishes connections with other artistic works from the specific qualities of the painting of objects and things.

This contribution analyzes the uses of time linked to materials in contemporary art practices. In the first part of the argument I consider the significance of the contemporary turning away from the normative idea that time should be external or non-intrinsic to fine or visual artworks. The change in mentality concerning the value of time in these works of art has been especially transforming among artists and opened up new opportunities for their creative work. I am particularly interested in the possibilities of an aesthetic translation of the human experience of time into the so-called spatial artworks through the intervention of changeable, non-permanent or non-lasting materials. When time ceases to be seen as a destructive element whose intervention should be avoided, or as a simple subject that the picture tries to depict, it can then be regarded as any other artistic material or as working inside the artistic materials as an active element that can attain a high impact on the final solution of the artistic process. Consequently, artists, viewers, art conservation institutions and so on ought to acknowledge that the temporal nodes should always count as a significant aesthetic component and that the performative temporal dimension is intimately linked to the amplification of the material possibilities in the creative process. In connection with this, I discuss the blurring of the di erence between the real and the representational in art practices and how that affects the very presence of temporal dimensions. The paper concludes with the proposal of a new temporal level in works of art that modifies (our temporal understanding of) the identity of the work.