{"id":11143,"date":"2024-04-30T08:20:06","date_gmt":"2024-04-30T06:20:06","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=11143"},"modified":"2024-04-12T17:58:56","modified_gmt":"2024-04-12T15:58:56","slug":"retrats-duna-tertulia-pombo","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/ca\/retrats-duna-tertulia-pombo\/","title":{"rendered":"Retrats d’una tert\u00falia: Pombo"},"content":{"rendered":"

Retrats d’una tert\u00falia: Pombo<\/h1>\n

El terme plebeu referit a Madrid (utilitzat per d\u00b4Ors de manera epigram\u00e0tica) aclareix un dels trets d’aquella tert\u00falia, que va donar cabuda a personatges de molt variat aspecte<\/p>\n

\"\"
\u201cLa tert\u00falia del Caf\u00e8 de Pombo\u201d, de Guti\u00e9rrez Solana. \/ Imatge: https:\/\/www.museoreinasofia.es\/coleccion\/obra\/tertulia-cafe-pombo<\/a><\/figcaption><\/figure>\n

Llic\u00e8ncia Creative Commons<\/a><\/p>\n

\"\"<\/strong><\/p>\n

 <\/p>\n

Eduardo Alaminos<\/strong><\/p>\n

 <\/p>\n

Sens dubte el quadre de Jos\u00e9 Guti\u00e9rrez Solana<\/strong>, La tert\u00falia del Caf\u00e8 de\u00a0Pombo<\/em> (Museu Reina Sofia) \u00e9s el document gr\u00e0fic m\u00e9s important sobre ella. Es pot afirmar que aquesta obra ha transcendit el seu propi \u00e0mbit, el de la tert\u00falia creada per Ram\u00f3n G\u00f3mez de la Serna<\/strong>, convertint-se en una imatge que retrata tota una \u00e8poca, la d’un cert Madrid inconformista, en el primer ter\u00e7 del segle XX. \u201cTemple i palestra\u201d i \u00e0mbit de \u201cefervescent atmosfera d’inconformisme est\u00e8tic\u201d s’ha escrit sobre ella (Domingo R\u00f3denas de Moya. \u00a0El orden del azar. Guillermo de Torre entre los Borges, <\/em>2023).<\/p>\n

El naixement de la tert\u00falia de Pombo<\/strong>, el 1915, va ser acompanyat pel llan\u00e7ament d’una Primera Proclama, editada com a plec solt (730 x 535 mm.) (hi ha edici\u00f3 facsimilar publicada per Poes\u00eda. Revista de informaci\u00f3n po\u00e9tica, n\u00fam. 3, 1978<\/em>) que podem considerar alhora com un manifest (tan habituals en l’\u00e0mbit de les avantguardes art\u00edstiques i liter\u00e0ries d’aquells anys), com una acta notarial de la seva obertura i exist\u00e8ncia i fins i tot com un avan\u00e7 de l’estructura que tindrien els dos llibres que Ram\u00f3n, el seu creador, va dedicar a ella: Pombo<\/em> (1918) i La sagrada cripta de Pombo<\/em> (1924).<\/p>\n

En l’anvers, la Proclama s’obria amb una sint\u00e8tica imatge, un dibuix a l\u00ednia i tintes planes de Salvador\u00a0Bartolozzi\u00a0en el qual\u00a0efigiaba\u00a0a onze tertulians asseguts i tocats amb barrets de copa, i a un cambrer, dempeus, amb un gran mirall a la seva esquena en el qual es reflecteix a base de punts un fragment d’un llum de gas del Caf\u00e8 i altres formes de dif\u00edcil identificaci\u00f3. Aquesta imatge, la primera de la tert\u00falia, fa de p\u00f2rtic al text dirigit a un tal Sr. D\u2026 que signava Ram\u00f3n. En aquesta cara tamb\u00e9 s’inclo\u00efa una reproducci\u00f3 del quadre d’Antonio Gisbert, Afusellament de Torrijos<\/em> i els seus companys a les platges de M\u00e0laga<\/em> (1888) (Museu del Prado), en clara al\u00b7lusi\u00f3 al liberalisme i hero\u00efcitat de la tert\u00falia que confirmaria Ortega y Gasset posteriorment en un fam\u00f3s discurs (\u201cs\u00f3n vost\u00e8s l’\u00faltima generaci\u00f3 liberal<\/strong>\u201d), i, finalment, una orla tipogr\u00e0fica amb el nom dels fundadors: Manuel Abril, Salvador Bartolozzi, Jos\u00e9 Bergam\u00edn, Rafael Bergam\u00edn, Tom\u00e1s Borr\u00e1s, Rafael Cansinos-Assens, Jos\u00e9 Guti\u00e9rrez Solana, Ram\u00f3n G\u00f3mez de la Serna, Gustavo Maeztu, Diego M\u00aa Rivera, Rafael Romero Calvet i Jos\u00e9 Cerezo<\/strong> (\u201ccambrer de la nostra capella\u201d), onze noms com en el dibuix de Bartolozzi.<\/p>\n

En el revers de la fulla, s’inclo\u00efen una targeta de Ram\u00f3n amb la seva \u201csilueta monogr\u00e1matica\u201d, aix\u00ed la va definir el mateix Ram\u00f3n, que li va fer l’escultor Julio Antonio, i dues refer\u00e8ncies de lloc i temps: \u201cDissabtes \/nit<\/em>\u201d i \u201cAntic caf\u00e8 i botiller\u00eda de Pombo<\/em>\u201d; l’Ex-libris confeccionat per l’arquitecte Rafael Bergam\u00edn, un dibuix del llum pombiana en forma de lira que es convertiria en el logotip del Caf\u00e8 al qual Alfonso Reyes va qualificar de \u201cdibuix sutilitzat de l’aranya de gas\u201d i que Ram\u00f3n inclouria com a cap\u00e7alera en la cap\u00e7alera de les seves cartes. Finalment, precedint al peu d’impremta, un av\u00eds en el qual llegim: \u201cSobre aquest Pombo nostre han dit belles paraules COLOMBINE en el Heraldo<\/em> i XENIUS en \u00b4La Veu<\/em>\u00b4\u201d.<\/p>\n

Aquestes dues refer\u00e8ncies liter\u00e0ries<\/strong> (perqu\u00e8 el literari tamb\u00e9 va contribuir a formar la imatge de la tert\u00falia pombiana) podem considerar-les, juntament amb les imatges i els textos de la pr\u00f2pia Proclama, com els primers retrats literaris que es van escriure sobre Pombo<\/strong>. Comen\u00e7ar\u00e9 pel d’Eugeni d’Ors, titulat \u201cEpigrama del Pombo<\/em>\u201d, publicat en La Veu de Catalunya<\/em> el 16 de juny de 1915, n\u00fam. 5.790, pg. 1, edici\u00f3 del Mat\u00ed.<\/p>\n

Com ha assenyalat Andreu Navarra \u201ca Madrid, d’Ors no es perdia tert\u00falia, festa ni commemoraci\u00f3 (\u2026)<\/strong> se li va poder veure amb freq\u00fc\u00e8ncia en les tert\u00falies del moviment ultra\u00edsta (\u2026.) i era tamb\u00e9 assidu de la fonamental tert\u00falia de Pombo, on era molt respectat\u201d (La escritura y el poder. Vida y ambiciones de Eugeni d\u00b4Ors<\/em> [2018]). De la glossa de d\u00b4Ors en La Veu de Catalunya<\/em> m’interessa destacar diverses imatges: la primera, aquella en la qual d’Ors retrata al Pombo nocturn, el de les onze de la nit, com \u201cuna perla sostinguda per un ombr\u00edvol lla\u00e7 rom\u00e0ntic en el bell coll plebeu i agitat de Madrid\u201d. Xavier Pla en comentar la glossa dorsiana conclou que \u201cPombo, la perla de Madrid, estava per a ser vista i mostrada, fins per a \u00b4suar-la\u00b4, perqu\u00e8, en definitiva pogu\u00e9s brillar delicada i suaument cada nit\u201d. (\u201cDe Ram\u00f3n a Eugenio, de Buenos Aires a Madrid. Unas cartas in\u00e9ditas, Revista de Occidente<\/em>, n\u00ba 481, 2021). Aix\u00ed doncs enfront d’altres Caf\u00e8s que d’Ors considerava com a diamants, Pombo ho concebia com una perla, per\u00f2 no hem d’oblidar que el terme perla va poder fer-se servir tamb\u00e9 de manera ir\u00f2nica.<\/strong><\/p>\n

El terme plebeu referit a Madrid (utilitzat aqu\u00ed per d\u00b4Ors de manera epigram\u00e0tica) aclareix un dels trets d’aquella tert\u00falia, que va donar cabuda a personatges de molt variat aspecte, enfront, per exemple, a la limitada i elitista tert\u00falia de la Revista de Occidente<\/em>, creada per Ortega y Gasset, i estudiada recentment per Juan Manuel Bonet, Fernando R. Lafuente i Fernando Castillo (Cat\u00e0leg de l’exposici\u00f3 Revista de Occidente<\/em> o la modernidad espa\u00f1ola<\/em> [2023]). D’Ors va percebre la tert\u00falia pombiana com un focus d’agitaci\u00f3 respecte d’aquell context cultural que Ram\u00f3n denunciava al comen\u00e7ament de la Proclama<\/strong>: \u201ctot \u00e9s cada vegada m\u00e9s maldestre, m\u00e9s travat, m\u00e9s insidi\u00f3s i m\u00e9s retardatari\u201d. Considerada la tert\u00falia com un \u00e9sser col\u00b7lectiu, el plebeu, o si es prefereix el cast\u00eds, ho associava a uns certs trets rom\u00e0ntics, dos eixos que Ram\u00f3n va saber conciliar admirablement, enfilant-los sense soluci\u00f3 de continu\u00eftat, amb altres atributs del XIX, el popular, la defensa de la modernitat i l’exaltaci\u00f3 del nou.<\/p>\n

La segona imatge dorsiana, i aquesta em sembla potser m\u00e9s interessant encara com a conceptualitzaci\u00f3 de la tert\u00falia, \u00e9s el considerar que Pombo s’assembla \u201cal color d’una certa vitrina, plena igualment de records rom\u00e0ntics, en un museu de Par\u00eds, el Carnavalet\u201d<\/strong>. Mes aquesta perla rom\u00e0ntica de Par\u00eds \u2013afegeix\u2013 est\u00e0 reclosa i massa guardada\u201d. Per qu\u00e8 cita d’\u00b4Ors, aquest Museu? El Museu Carnavalet (inaugurat el 1882) va n\u00e9ixer per indicaci\u00f3 del bar\u00f3 Haussmann un any abans d’escometre la seva ampl\u00edssima reforma urban\u00edstica (1865) que inauguraria el Par\u00eds modern. El museu anava a recollir tots els vestigis que la reforma faria desapar\u00e8ixer inexorablement.<\/p>\n

La sagrada cripta de\u00a0Pombo\u00a0va ser considerada aix\u00ed per d\u00b4Ors com el\u00a0Carnavalet\u00a0de les tert\u00falies<\/strong>, tret que menys pudor\u00f3s pel car\u00e0cter de la ciutat, Madrid. Sent aix\u00ed, els dos llibres que Ram\u00f3n li va dedicar podr\u00edem visualitzar-los com a vitrines carregades de records, testimoniatges i an\u00e8cdotes.<\/p>\n

\n

Font:\u00a0educational EVIDENCE<\/strong><\/p>\n

Drets:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Sens dubte el quadre de Jos\u00e9 Guti\u00e9rrez Solana, La tert\u00falia del Caf\u00e8 de\u00a0Pombo (Museu Reina Sofia) \u00e9s el document gr\u00e0fic m\u00e9s important sobre ella. Es pot afirmar que aquesta obra ha transcendit el seu propi \u00e0mbit, el de la tert\u00falia creada per Ram\u00f3n G\u00f3mez de la Serna, convertint-se en una imatge que retrata tota una \u00e8poca, la d’un cert Madrid inconformista, en el primer ter\u00e7 del segle XX. \u201cTemple i palestra\u201d i \u00e0mbit de \u201cefervescent atmosfera d’inconformisme est\u00e8tic\u201d s’ha escrit sobre ella (Domingo R\u00f3denas de Moya. \u00a0El orden del azar. 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