{"id":20020,"date":"2024-09-27T09:07:57","date_gmt":"2024-09-27T07:07:57","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=20020"},"modified":"2024-09-27T09:11:51","modified_gmt":"2024-09-27T07:11:51","slug":"antonio-fillol-i-la-visibilitzacio-de-la-violencia-sexual","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/ca\/antonio-fillol-i-la-visibilitzacio-de-la-violencia-sexual\/","title":{"rendered":"Antoni Fillol i la visibilitzaci\u00f3 de la viol\u00e8ncia sexual"},"content":{"rendered":"

Antonio Fillol i la visibilitzaci\u00f3 de la viol\u00e8ncia sexual<\/h1>\n
\"\"
‘El s\u00e0tir’, del pintor valenci\u00e0 Antonio Fillol (1870-1930), mostra una roda de reconeixement perqu\u00e8 una nena identifiqui el seu violador. El quadre va ser retirat de l’Exposici\u00f3 Nacional de 1906 per “immoral”. \/ Wikimedia<\/a><\/figcaption><\/figure>\n

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

\"\"<\/p>\n

 <\/p>\n

Loida Roca<\/strong><\/p>\n

 <\/p>\n

\u201cEm limitava a pintar-hi una d’aquelles brutalitats que de tant en tant<\/strong><\/p>\n

realitza la b\u00e8stia que l’home porta a dins\u201d.<\/strong><\/p>\n

Antoni Fillol<\/strong><\/p>\n

Antoni Fillol Granell<\/strong> <\/a><\/span>(1870-1930) ha estat sens dubte un gran oblidat de la hist\u00f2ria de l’art espanyol. Nascut a Val\u00e8ncia, d’or\u00edgens humils i d’ideals republicans, va reflectir a les seves obres els paradigmes i contradiccions del canvi de segle. Fillol va comprometre el seu art amb el moviment del naturalisme i, a l’estil zolesc, va fer servir la seva destresa per a representar les realitats de la perif\u00e8ria amb una mirada cr\u00edtica i objectiva. Aquestes decisions art\u00edstiques i ideol\u00f2giques li van ocasionar m\u00faltiples controv\u00e8rsies. La b\u00e8stia humana<\/em> (1897) i El s\u00e0tir<\/em> (1906) van ser dues de les seves obres m\u00e9s pol\u00e8miques. Aquestes peces d’excel\u00b7lent composici\u00f3 i realisme sublim van enardir la cr\u00edtica m\u00e9s conservadora per la seva tem\u00e0tica: la prostituci\u00f3 i l’agressi\u00f3 sexual.<\/p>\n

La violaci\u00f3 o l’agressi\u00f3 sexual de les dones \u00e9s una tem\u00e0tica pict\u00f2rica que sempre ha estat present a l’imaginari de l’art, donat que \u00e9s un imaginari hegem\u00f2nicament mascul\u00ed. Aquest tipus de viol\u00e8ncia va ser vetllada a trav\u00e9s de diferents mecanismes com ara la idealitzaci\u00f3, que representava la violaci\u00f3 idealitzant-la a trav\u00e9s de temes mitol\u00f2gics o hist\u00f2rics. Podem veure m\u00faltiples escenes d’aquest tipus en qualsevol dels grans museus d’art sota el po\u00e8tic t\u00edtol de raptes, les protagonistes del qual acostumen a mostrar patiment a les cares, per\u00f2 els seus cossos s’erotitzen mostrant-se nus d’acord amb els c\u00e0nons est\u00e8tics de les diferents \u00e8poques posant de forma suggerent i teatral. Aquesta forma de representaci\u00f3 facilita la deshumanitzaci\u00f3 de la dona i, per tant, s’erotitza l’acte de la violaci\u00f3. Exemples d’aix\u00f2 s\u00f3n el Rapte de les filles de Leucipo<\/em> (1616) de Rubens, el Rapte de Proserpina<\/em> (1621-22) de Bernini, El rapte de les savines<\/em> (1874) de Francisco Pradilla, El rapte de les savine<\/em>s (1799) de Jacques-Louis David, entre d’altres.<\/p>\n

S\u00f3n pocs els artistes que, igual que Fillol, van visibilitzar la viol\u00e8ncia sexual en lloc d’erotitzar-la <\/strong>o vetllar-la a trav\u00e9s de mites o escenes hist\u00f2riques. Un exemple d’aquesta visibilitzaci\u00f3 la podem trobar a la pe\u00e7a pintada per Degas entre 1868 i 1869, Interior (La violaci\u00f3)<\/em>. Aquesta pintura costumista de grans dimensions mostra el previ a una escena d’agressi\u00f3 sexual que, igual que La b\u00e8stia humana<\/em> o El s\u00e0tir<\/em>, no se serveix de nus per transmetre l’angoixa del moment. Considerablement m\u00e9s crua va ser la pe\u00e7a performativa que va crear una dona, Ana Mendieta (1948-1985), fent servir el seu propi cos de forma cruel i dura. Aquesta pe\u00e7a es va titular Rape Scene<\/em> (1973) i la intenci\u00f3 de l’artista va ser protestar contra la violaci\u00f3 i l’assassinat d’una companya de la universitat.<\/p>\n

Aquesta breu an\u00e0lisi no pret\u00e9n caure en la cancel\u00b7laci\u00f3, abundant de la nostra \u00e8poca, de peces tan ic\u00f2niques com les esmentades anteriorment, per\u00f2 s\u00ed que aborda la necessitat de fer una reflexi\u00f3 entorn de l’abundant representaci\u00f3, sigui de forma idealitzada o crua, d’aquest \u00fas violent del cos femen\u00ed<\/strong>.<\/p>\n

Tornant a les pintures d’Antoni Fillol i enlla\u00e7ant amb la consideraci\u00f3 al voltant de l’\u00fas del cos femen\u00ed a l’art, cal destacar una altra pe\u00e7a de l’artista valenci\u00e0, Flor desechada (1906) que representa un sensual nu femen\u00ed il\u00b7lustrant la p\u00e8rdua de la virginitat de forma simb\u00f2lica. El menyspreable d’aquest cas \u00e9s que mentre aquest nu va ser acceptat sense problemes pel jurat de l’Exposici\u00f3 General de Belles Arts de 1906, El s\u00e0tir<\/em> va ser expulsat del mateix certamen per immoral<\/strong>.<\/p>\n

Aquest \u00fas i cosificaci\u00f3 dels cossos femenins va ser sat\u00edricament denunciat gaireb\u00e9 un segle despr\u00e9s pel col\u00b7lectiu feminista Guerrilla Girls<\/strong>. Aquest col\u00b7lectiu va fer una cridanera acci\u00f3 el 1985 exposant una gran pancarta on s’observava una imatge de La gran Odalisca<\/em> (1814) d’Ingres amb una m\u00e0scara de goril\u00b7la. Al costat d’aquesta figura es podia llegir el text seg\u00fcent: \u201cLes dones han d’estar nues per entrar al Met Museum? Menys del 5% dels artistes a les seccions d’Art Modern s\u00f3n dones, per\u00f2 un 85% dels nus s\u00f3n femenins\u201d. La campanya evidenciava el que ja va passar amb El s\u00e1tir<\/em> i Flor desechada<\/em>, que mentre els cossos de les dones, com a objecte, sempre tindrien acc\u00e9s als espais art\u00edstics, no passaria el mateix amb les seves narratives. A principis de 2015, en una confer\u00e8ncia a Escorxador de Madrid, les mateixes Guerrilla Girls afirmaven que les dades actualitzades del museu metropolit\u00e0 de Nova York eren, paradoxalment, massa similars: nom\u00e9s el 4% dels artistes representats eren dones i el 76% de els nus eren femenins.<\/p>\n

Fillol va ser un pintor comprom\u00e8s amb all\u00f2 social i la seva den\u00fancia de les desigualtats va ser notable, no deixant de pintar escenes o temes tab\u00fa malgrat les m\u00faltiples repressions que va patir. El pintor va mostrar la viol\u00e8ncia espec\u00edfica que les dones patien a trav\u00e9s i per causa del sexe. I per tot aix\u00f2, no \u00e9s estrany que en el panorama espanyol actual, entitats culturals com el Museu del Prado hagin tornat a exposar les pol\u00e8miques peces de Fillol. Obres com La b\u00e8stia humana<\/em> o El s\u00e0tir<\/em> sobreviuen a la censura i erigeixen avui nous di\u00e0legs amb els espectadors del segle XXI, que de cop i volta, no se senten aliens a aquestes peces de fa m\u00e9s d’un segle.<\/p>\n

\n

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

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

Antoni Fillol Granell (1870-1930) ha estat sens dubte un gran oblidat de la hist\u00f2ria de l’art espanyol. Nascut a Val\u00e8ncia, d’or\u00edgens humils i d’ideals republicans, va reflectir a les seves obres els paradigmes i contradiccions del canvi de segle.<\/p>\n","protected":false},"author":4,"featured_media":19530,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"1","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[232],"tags":[1783,1778],"class_list":["post-20020","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanitats","tag-antoni-fillol","tag-violencia-sexual-ca"],"yoast_head":"\nAntoni Fillol i la visibilitzaci\u00f3 de la viol\u00e8ncia sexual - Educational Evidence<\/title>\n<meta name=\"description\" content=\"Antoni Fillol Granell (1870-1930) ha estat sens dubte un gran oblidat de la hist\u00f2ria de l'art espanyol. 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