Giorgio de Chirico: ironía, misterio y melancolía – II – El enigma de las horas y de los lugares – Francisco Molina González

Giorgio de Chirico: ironía, misterio y melancolía – II – El enigma de las horas y de los lugares – Francisco Molina González

Giorgio de Chirico: ironía, misterio y melancolía – II – El enigma de las horas y de los lugares

 

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Hablar o escribir sobre cualquier autor siempre es un reto no exento de riesgo, sobre todo, si vamos más allá de su biografía y más, si es de un creador. No hay que olvidar que la creación está repleta de intuiciones y subjetividades difíciles de cuantificar, definir y explicar. Sin embargo, para valorar la relevancia de una obra consideramos los cambios e innovaciones estéticas y su repercusión social y cultural. Giorgio de Chirico es un pionero difícil de encasillar, porque como artista vive y experimenta la efervescencia del cambio de los siglos XIX al XX; además, porque convierte elementos de la tradición clásica, ideas y formas, en componentes de la pintura moderna; y, por último, porque es predecesor de los artistas figurativos más representativos del siglo XX. Heráclito decía que no nos podemos bañar dos veces en el mismo río, enfatizando que la realidad es continuamente mudable. El arte como objeto portador de ideas y sentimientos, en su afán de inmovilizar la cambiante realidad, nos recuerda que la imagen que miramos es sólo un reflejo de eternidad.

No se sabe muy bien por qué se acuñó la pintura de Chirico como metafísica. Las referencias que citan distintos autores varían sobre su origen. La más temprana combina elementos biográficos y mitológicos con las lecturas que hizo Chirico en su juventud de Schopenhauer y Nietzsche. Otra, lo sitúa en las conversaciones que mantuvo en 1916 con Carlo Carra en el Hospital de Ferrara. Quizás – la más creible – se localiza en París, cuando el poeta Guillaume Apollinaire definio a Chirico como el pintor de la “melancolía universal” “de visiones apacibles, crepusculares y poeticas”. Sin embargo, me parece oportuno para clarificar el sentido de las pinturas de Chirico, citar el origen de la metafísica. Dice Julian Marías en su obra “Idea de la Metafísica” que cuando Andrónico de Rodas ordenó los textos de Aristóteles encontró algunos inclasificables y que, como no sabía qué hacer con ellos, los situó más allá de los libros de física, no los desechó a la nada por oscuros, sino que los mantuvo cerca porque intuía que podían dar luz a las demás. Pudiera ser este aspecto el que le diera el acento de metafísica a la obra de Chirico, pues no se podría entender una parte importante del arte moderno sin su influencia porque mantiene y transforma la figuración clásica en el siglo XX.

A la hora de valorar la obra de Chirico, resulta inevitable remitirse al autor que influyó en su obra, con el objeto de poner de relieve las claves que le vinculan con el arte del pasado. En El enigma del oráculo de Giorgio de Chirico y Ulises y Calipso de Arnold Böcklin, pinturas separadas en cerca de 30 años, de 1882-1910, se puede apreciar las afinidades entre ambos artistas, en una reflexión sobre las leyendas del viajero errante de Troya en el espacio moderno. Según los mitos de algunas tradiciones, se dice que Sísifo fue el padre de Ulises, castigado al Hades por matar a viajeros. Enorme paradoja entre padre sedentario e hijo nómada, pero con una habilidad en común, la capacidad de engañar a dioses y hombres. El arte de Chirico es un trampantojo de las inmortales leyendas griegas, un viaje por la densidad del tiempo, por el instante fugaz, donde la mente contempla los enigmas que arriban a nuestras vidas como si fueran olas del mar.

 

 

Giorgio de Chirico – L’enigma dell’oracolo [1910]

En El enigma del oráculo podemos observar algunos elementos que se convertirán en habituales en la obra de Giorgio de Chirico. El personaje, estatua de espaldas de color terroso y sin cabeza, es testigo inmóvil del movimiento perpetuo de las nubes, de perspectivas siempre cambiantes. Nunca veremos las mismas cúmulos, no hay mejor representación del citado río de Heráclito. Por otra parte, como contrapeso, al otro lado del cuadro, una estatua clásica muestra su luminosa cabeza por encima de una cortina cuadrada y negra – como una pintura de cuadrado negro de Malévich – y que se presenta ante nuestra mirada como una misteriosa esfinge, que tiene por techo las fugaces nubes.

 

 

Arnold Böcklin – Odysseus und Kalypso [1883]

Hay una clara contraposición entre las dos figuras, el cuerpo sin cabeza, abierta al espacio nebuloso del cielo y la cabeza sin cuerpo encerrada y tapada en un estrecho habitáculo. Ambas separadas por un muro de ladrillos que pone de relieve su imposible conciliación, su distancia, la pérdida de la tradición por el olvido.

Es aceptada por evidente la influencia de Arnold Bocklin en esta obra de Chirico, como se puede apreciar fundamentalmente por la figura casi idéntica de perfil de Ulises y Calipso, que también parece observar el horizonte brumoso del cielo. En otro lugar del mismo cuadro, podemos ver a la diosa Calipso recostada, ofreciéndole con su lira la inmortalidad al héroe de la Odisea. Ambas se contraponen con sus respectivos fondos, la luminosa libertad del mar con la sombra recortada de Ulises y la cueva negra de boca oronda que anida a Calipso. Entre ellos, un muro de rocas. Resulta llamativo el valor del negro, tanto en la cortina como en la cueva, como predecesoras de las punzantes sombras de las “plazas” de Chirico. En ambos casos se alude a imágenes cargadas de símbolos clásicos, que nuestro autor transforma en imágenes de melancólica soledad.

En la siguiente obra de Chirico El enigma de la tarde de otoño, podemos ver nuevamente a la figura descabeza, encima de un pedestal y convertida en estatua, como Edith la mujer de Lot, quizás, por mirar por encima del horizonte.

 

 

Giorgio de Chirico – L’enigma di un pomeriggio d’autunno [1910]

Dos figuras de azul y morado la acompañan a sus pies, junto con la vela de una nave que parece ir al son del viento, detrás de la masa de piedras que definen el horizonte. La recurrente cortina oscura cubre las dos puertas de la fachada de lo que queda de un templo, posible entrada de un camosanto. Es interesante subrayar que tienen su límite en el horizonte, alrededor del cual termina y empieza todo, lo mismo que la alargada sombra de los restos de otro templo en la penumbra.

Las sombras de la estatua y del templo generan perspectivas como el camino de “Villa in Fruhling” de Bocklin, en donde el muro y los cipreses proyectan sombras de bordes tenues, como una difusa frontera entre el primer y segundo plano de la casa. Villa de colores similares a los del cielo, que se sitúa justo por encima del horizonte, como se puede ver en el fragmento de mar en uno de los márgenes del cuadro. El espacio entre los árboles laterales define una superficie casi rectangular, como una fachada, que unifica la morada de superficie blanquecina y el cielo, en una puerta luminosa.

 

Arnold Böcklin – Italienische Villa im Frühling [um 1870]

En El enigma de la hora (1911), Giorgio de Chirico nos presenta un edificio frontal, simétrico, con arcos, donde un reloj con forma circular preside la escena. Junto a él, podemos ver la sombra de una diminuta cabeza de un personaje, que da proporción y grandeza al edificio y que inevitablemente recuerda al busto de detrás de la cortina de El enigma del oráculo. Abajo, otro personaje, casi invisible por ser del mismo color del ladrillo de la pared, recorre el pasillo de debajo de los arcos, parece que es lo único que se mueve. Por otra parte, el habitual individuo, vestido de blanco, como las estatuas de las obras precedentes, contempla la hora, llevándose la mano a la frente para poder observar mejor el momento. Esta idea de poner de relieve el instante presente añade otro valor al horizonte de los cuadros anteriormente comentados. Dicho límite queda a la altura de la escalinata poniendo de relieve la distancia entre el mundo real y el imaginario. Otro elemento constante que se mantiene a los pies del reloj, es el espacio sombrió, oscuro como las cortinas de las puertas del camposanto y la gruta de detrás de Calipso. Se presenta ante nosotros como una entrada al subsuelo, rectangular, como la de una tumba, quizá reminiscencia de los cultos ctónicos.

 

Giorgio de Chirico – L`enigma dell`ora [1910 – 1911]

 

 

Arnold Böcklin – Die Toteninsel [Tercera versión – 1883]

El enigma de la hora tiene ciertas similitudes con La isla de los muertos de Böcklin. Los cipreses, como los arcos, son la parte visible de la oscuridad, enmarcados por grandes y cortantes rocas. El centro de los mismos árboles es oscuro y sombrío como el agujero en el suelo del cuadro de Chirico, e incluso es tendente a tener forma circular como el reloj. La obra de Böcklin presenta una imagen simétrica, horizontal, como la fachada de un templo. También resulta llamativo que el muro de entrada de la isla esté a la misma altura del nivel del mar como se puede apreciar en ambos laterales, lo que eleva la mayor parte del conjunto a la monumentalidad de lo que está más allá del horizonte de lo humano. La figura, difunta como una estatua y cubierta con un paño, es trasladada en barca a la inexorable oscuridad. En los mitos griegos el dios Érebo, hijo de Cronos, el Tiempo, ejercía su espíritu en la sombras, las nieblas y las oquedades subterráneas, lugares reservados a los misterios y a lo que está más allá de la experiencia humana.

Uno de los temas recurrentes en la obra de Chirico, son sus “plazas”, en donde aparecen de forma constante los elementos que ya hemos citado, ya sea, la estatua que se levanta por encima del horizonte, ya sea tumbada en un sueño eterno; los arcos, reminiscencia de los cipreses de Böcklin, que proyectan alargadas sombras hacia el espectador. También aparece como un elemento esencial el horizonte donde se sitúa un monolito en el caso de un cuadro y un θόλος, tholos, templo circular, en otro. Se sigue manteniendo la simetría, de cuyo valor simbólico ya hemos hablado en El enigma de la hora y La isla de los muertos; y se añaden dos personajes que, por proximidad, parecen estar dialogando y dan la proporción de las plazas.

 

 

Giorgio de Chirico – Piazza d`Italia [1913]

 

Giorgio de Chirico – Piazza d`Italia [1913]

Además se hace presente como nuevo elemento un cielo crepuscular que fuerza un claroscuro potente. La luz agonizante sitúa el momento preciso, como en El enigma de la hora en el encuentro del día y la noche. Las sombras se proyectan sobre el espectador punzantes para involucrarlo en la trágica soledad de la escena. En estas obras de Chirico las penumbras son duras, casi negras como los elementos que ya hemos citado, y refuerzan el sentimiento de melancolía, como los cipreses de negra bilis, por los reiterados arcos de infinitas perspectivas.

En Misterio y melancolía en la calle, de Chirico apunta a cierta perversión con una inocente joven jugando con un aro en una calle vacía. En el aire hay un fuerte contraste entre el suelo de intenso amarillo y el cielo azul verdoso, que se acentúa con el recorte de una sombra que apunta amenazante a la adolescente. Parece tener el papel de la constante estatua, en este caso metamorfoseada en un viejo o profeta por sus largos ropajes, con un bastón o lanza anclada en el suelo. El conjunto refuerza esta intimidación, hiriente como las sombras, escondiendo en la penumbra un vagón con las puertas abiertas de un fondo oscuro, como las cortinas y del agujero negro. Las ruedas del habitáculo parecen mirar como dos ojos a la adolescente que se avecina. Las perspectivas de las fachadas de los edificios no se encuentran alineadas en un punto de fuga, divergen como en el choque de abisales espacios, por el fogonazo de luz crepuscular. Es una obra compleja, quizás una inmoralidad o un amor añorado.

 

Giorgio de Chirico – Mistero e malinconia di una strada, fanciulla con cerchio [finales de los años 60 del siglo XX; anteriormente datada en 1948. Réplica del célebre cuadro de 1914]

En fin, para terminar este breve recorrido interpretativo de algunas obras de de Chirico, que empezó de la mano de Odiseo, podemos decir que hemos tenido suerte, pues a lo largo de los sinuosas y enigmáticas imágenes de de Chirico y Böcklin no nos hemos topado con Sísifo, que hubiera, sin duda, interrumpido nuestro viaje.

*

Francisco Molina González

Autor
Categories: Artes Plásticas

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