Quevedo y Alberti frente al lienzo: La silva "El pincel" y dos sonetos de A la pintura (1945)

TLDR: In the sonnets “Al pincel” and “A la pintura,” from his 1945 homonymous book of poems, Rafael Alberti takes as his starting point the Baroque idea of pictorial art as expressed in Francisco de Quevedo's silva “El pincels” (ca. 1625) and reelabora sobre its conceptos centrales: the caracter heroico de the pintura and the idea of its ilimitada capacidad de representacion.

Abstract: espanolEn los sonetos “Al pincel” y “A la pintura”, recogidos en su poemario homonimo de 1945, Rafael Alberti parte de la idea barroca del arte pictorico expresada ejemplarmente en la silva “El pincel” de Francisco de Quevedo (c. 1625) y reelabora sobre sus conceptos centrales: por un lado, el caracter heroico de la pintura y, por otro, la idea de su ilimitada capacidad de representacion. Alberti pone este material al servicio de su poetica del arte pictorico, en la que las constantes del tiempo y de la muerte quedan fuera del texto. El resultado es una nueva poesia que identifica la pintura con creacion que supera la mimesis clasica, dejando campo libre a la imaginacion del artista, asi como con vida, mediante la utilizacion de un lenguaje poetico altamente plastico que, en si mismo, constituye un rechazo al estancamiento percibido por el poeta en el ambiente cultural de la Espana de posguerra. EnglishIn the sonnets “Al pincel” and “A la pintura,” from his 1945 homonymous book of poems, Rafael Alberti takes as his starting point the Baroque idea of pictorial art as expressed in Francisco de Quevedo’s silva “El pincel” (ca. 1625). He does this by elaborating on its two central concepts: on the one hand, the heroic nature of painting, and on the other, its unlimited capacity for representation. Alberti puts this material at the service of his own poetics, in which the constants of time and death remain outside the text. The result is a new poetry that identifies painting with creation, which can overcome mimesis by giving free rein to the artist’s imagination. Likewise, painting is also associated with life, by means of a highly plastic poetic language, which in itself constitutes a rejection of the stagnation perceived by the poet in the cultural atmosphere of post-Civil War Spain.