LLEI D'ART 10

GAUGUIN | SUNYER época. No en vano es el paisaje el que da forma a nuestra imagen de la naturaleza, y no a la inversa. Naturalismo La pintura de paisaje se convirtió a lo largo del siglo XIX en uno de los principales motores de renovación artística. A prin- cipios de siglo todavía era considerada como un género me- nor, supeditado a la pintura de historia. Sin embargo, su esca- sa reglamentación y sus amplias posibilidades de desarrollo al margen de otros géneros facilitaron su rápida evolución. Varios factores contribuyeron a que este cambio tuviese lu- gar. El primero de ellos fue la crisis del modelo ideal del paisa- je italiano y la nueva atención prestada a los rasgos peculia- res del paisaje de cada región. Al tiempo que esto ocurría, el «paisaje histórico» o «heroico» fue progresivamente sustituido por composiciones cuya única protagonista era la naturaleza. Por último, la práctica de la pintura al aire libre —inicialmente concebida como simple ejercicio— fue impregnando con su libertad y frescura las composiciones destinadas a los certá- menes oficiales. RUSIÑOL | MONET | GAUGUIN | SUNYER Landscape in the Carmen Thyssen Collection CaixaForum Lleida + Romanticism turned landscapes into a pictorial theme and ever since artists belonging to all kinds of trends and movements have painted fields, woods, harbours and urban panoramas. Some did so to exalt the re- lationship between man and nature; others, to study the effects of light, volume or geometry. Amongst these we can find realist landscapes, which depict the world we live in in minute detail, and avant-garde landscapes in which the painting acquires its own character in comparison with the reality of the things depicted. Although mid-century Romantic and realist painters often sketched in the open air, the Impressionists were the first to complete their works outside the studio. However, this work method soon revealed its limita- tions insofar as the artist was subject to the vagaries of the weather which thus restricted the artist’s imagi- native creativity. Towards the end of the 19th century, the search for an internal order within the picture imposed itself over the concept of a true imitation of nature. The creation of the painting as a flat surface covered in colour antici- pated the formal discoveries of the 20th century which arose from the avant-garde, in which landscapes lost part of their previous importance. Nevertheless, the surrealists rejuvenated the genre by making their can- vasses true landscapes of the subconscious. As such, this exhibition allows the viewer to trace a path through the history of lansdcape in Catalan and European painting through 49 works that depict this evolution: from the Romanticism of Théodore Rous- seau and Lluís Rigalt and their more naturalist vision, to the spectral landscapes of Modest Cuixart, Joan Ponç and Antoni Tàpies, who came to the Romantic tradition via surrealism in the Dau al Set period. Inbetween, the Symbolism of Maximilien Luce and Modest Urgell; the Impressionism and Post-Impres- sionism of Claude Monet and Paul Gauguin, Joaquim Mir and Santiago Rusiñol; of André Derain, Matisse Santiago Rusiñol. La cruz de término/ The Boundary cross, c. 1891-1892. Colección Carmen Thyssen-Bornemisza, en depósito en/ on deposit in Museo Thyssen-Bornemisza 101