{"id":439,"date":"2021-10-13T14:01:43","date_gmt":"2021-10-13T12:01:43","guid":{"rendered":"https:\/\/www.danielcuadrado.com\/?p=411"},"modified":"2021-11-03T15:51:20","modified_gmt":"2021-11-03T13:51:20","slug":"tone-and-gesture","status":"publish","type":"post","link":"https:\/\/www.danielcuadrado.com\/en\/tone-and-gesture\/","title":{"rendered":"Tone and gesture"},"content":{"rendered":"\n
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I believe that Nietzsche’s approach between music and truth in a fragment from 1871 entitled On Music and the Word is applicable to painting. Music could be closer to nature than the rest of the arts and that is why it can express the tone of a representation in a more exact way, if we understand the tone as the set of pleasant or unpleasant sensations that accompany it. Pleasure and displeasure are \u201cmanifestations of something primordial that we cannot penetrate\u201d, but we can symbolize in the tone of our works. This tone, for Nietzsche, is universal and all other representations “are indicated by the symbolic of the gesture.”<\/p>\n\n\n\n

The tone is commonly associated with the general chromaticism of the painting, with its temperature, but it is much more. Bacon would have had the same tone in his works even if he had painted them pink. It is from this common tonal background that all the symbols with which we represent ourselves develop, either through language or the visual..<\/p>\n\n\n\n

For me, painting and sculpture are the means that best establish the balance between tone and gesture to move the viewer, taking into account that, sometimes, this viewer does not recognize himself in the gesture that we have used to transmit the tone of the work . Gestures, by their nature, are not universal and you have to be able to use them as widely as possible.<\/p>\n\n\n\n

Tapies uses symbols in the work “Maquillatge” (1998), a good example of tone and gesture, and these symbols filter his own portrait. This and other works can be seen in Madrid, in an exhibition on the human image that Caixa F\u00f3rum has organized<\/a> in collaboration with the British Museum<\/a> and that can be enjoyed until the end of the year.<\/p>\n","protected":false},"excerpt":{"rendered":"

I believe that Nietzsche’s approach between music and truth in a fragment from 1871 entitled On Music and the Word is applicable to painting. Music could…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[33,31,35,41,40],"class_list":["post-439","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-art","tag-arte","tag-artemadrid","tag-painting","tag-pintura"],"_links":{"self":[{"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/posts\/439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/comments?post=439"}],"version-history":[{"count":1,"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/posts\/439\/revisions"}],"predecessor-version":[{"id":440,"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/posts\/439\/revisions\/440"}],"wp:attachment":[{"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/media?parent=439"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/categories?post=439"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.danielcuadrado.com\/en\/wp-json\/wp\/v2\/tags?post=439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}