{"id":2966,"date":"2023-06-12T22:59:59","date_gmt":"2023-06-12T20:59:59","guid":{"rendered":"https:\/\/sollabsevilla.com\/?p=2966"},"modified":"2023-06-12T23:00:01","modified_gmt":"2023-06-12T21:00:01","slug":"william-eggleston","status":"publish","type":"post","link":"https:\/\/sollabsevilla.com\/index.php\/2023\/06\/12\/william-eggleston\/","title":{"rendered":"William Eggleston"},"content":{"rendered":"\n
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William Eggleston<\/h2>\n\n\n\n
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William Eggleston\u00a0es considerado una de las figuras clave en la evoluci\u00f3n y reconocimiento art\u00edstico de la fotograf\u00eda en color<\/strong><\/p>\n\n\n\n

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Naci\u00f3 en\u00a0Memphis (Tennessee) en 1939. En sus primeros a\u00f1os se interes\u00f3 por la electr\u00f3nica, el arte y la m\u00fasica. Tras cursar la secundaria en la\u00a0Webb School\u00a0(donde las actividades art\u00edsticas ocupaban una posici\u00f3n muy residual), ingres\u00f3 en la\u00a0Universidad de Vanderbilt. <\/p>\n\n\n\n

All\u00ed se decidi\u00f3 por la fotograf\u00eda y se compr\u00f3 su primera c\u00e1mara.<\/p>\n\n\n\n

Eggleston realiz\u00f3 sus primeros trabajos en blanco y negro, muy influido en un principio por maestros como\u00a0Henri Cartier-Bresson,\u00a0Robert Frank\u00a0y\u00a0Walker Evans.\u00a0<\/p>\n\n\n\n

Fue en 1965 cuando se decidi\u00f3 a experimentar con la fotograf\u00eda a color y lo hizo aproxim\u00e1ndose a las escenas y situaciones de la vida real con un enfoque radicalmente novedoso, ajeno a los prejuicios art\u00edsticos de la \u00e9poca. <\/p>\n\n\n\n

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Inicialmente su obra pas\u00f3 desapercibida hasta que en 1969\u00a0John Szarkowski\u00a0la descubri\u00f3 y qued\u00f3 tan impresionado que le sugiri\u00f3 al comit\u00e9 fotogr\u00e1fico del\u00a0Museo de Arte Moderno de Nueva York\u00a0que adquiriera algunas de sus fotograf\u00edas.\u00a0<\/p>\n\n\n\n

A principios de la d\u00e9cada de 1970, Eggleston descubri\u00f3 que imprimir con el proceso de transferencia de tinte<\/em>\u00a0(una pr\u00e1ctica com\u00fan en la publicidad de alto nivel) le permitir\u00eda controlar los colores de sus fotograf\u00edas y, por lo tanto, realzar su efecto.\u00a0<\/p>\n\n\n\n

Entre sus primeras fotograf\u00edas en emplear la t\u00e9cnica se encuentran una imagen cruda de una bombilla desnuda fijada a un techo rojo sangre (1973) y las recopiladas en\u00a014 Pictures<\/em>\u00a0(1974), su primer portafolio publicado.<\/p>\n\n\n\n

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\u00a014 Pictures<\/em>\u00a0(1974)<\/figcaption><\/figure>\n\n\n\n
\"William
1973<\/em><\/figcaption><\/figure>\n\n\n\n

Habiendo recibido una beca Guggenheim en 1974, Eggleston recibi\u00f3 un impulso adicional en su carrera dos a\u00f1os m\u00e1s tarde con una exposici\u00f3n individual en el Museo de Arte Moderno<\/a> de la ciudad de Nueva York<\/a> . (Su curador, John Szarkowski<\/a> , se interes\u00f3 en el trabajo de Eggleston al conocerlo casi una d\u00e9cada antes). <\/p>\n\n\n\n

El espect\u00e1culo provoc\u00f3 la hostilidad de algunos cr\u00edticos, en particular Hilton Kramer, quien consider\u00f3 que las im\u00e1genes instant\u00e1neas eran banales\u00a0y<\/a>\u00a0carentes de arte.\u00a0<\/p>\n\n\n\n

Otros espectadores, sin embargo, encontraron que los matices intensamente saturados y las sorprendentes perspectivas de Eggleston imbu\u00edan una cualidad siniestra o on\u00edrica a sus apariencias aparentemente\u00a0mundanas.<\/p>\n\n\n\n

Gracias a esta exposici\u00f3n conoci\u00f3 a\u00a0Viva,\u00a0Janet Susan Mary Hoffmann, una de las estrellas de la entonces rutilante galaxia de\u00a0Andy Wharhol, con quien mantuvo una larga relaci\u00f3n.\u00a0<\/p>\n\n\n\n

As\u00ed fue como se introdujo en los ambientes del\u00a0pop-art\u00a0y como comenz\u00f3 a difundir su teor\u00eda llamada\u00a0Democratic Camera<\/strong><\/em>, seg\u00fan la cual cualquier cosa, por banal que nos pueda parecer, puede quedar perfectamente representada por la \u00f3ptica de una c\u00e1mara. Una idea nueva y arriesgada\u00a0 por aquel entonces que\u00a0Szarkowski\u00a0defender\u00eda en el cat\u00e1logo de la exposici\u00f3n con estas palabras:<\/p>\n\n\n\n

\u00abEggleston… nos muestra im\u00e1genes de t\u00edos, primos y amigos, de casas en el vecindario y vecindarios pr\u00f3ximos, de calles locales y carreteras secundarias, souvenirs extra\u00f1os, todos ellos aparecen no como podr\u00edan hacerlo en un documento social sino como en un diario, donde los significados importantes no son p\u00fablicos y generales sino privados y secretos\u00bb<\/em><\/p>\n\n\n\n

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En cualquier caso la \u00abdemocr\u00e1tica\u00bb filosof\u00eda visual de Eggleston, se ha consolidado a lo largo de las \u00faltimas d\u00e9cadas como una de las claves en la evoluci\u00f3n de la fotograf\u00eda contempor\u00e1nea, no s\u00f3lo en el tratamiento del color como se\u00f1alan todas las rese\u00f1as que de su obra se hacen, sino tambi\u00e9n en un nuevo enfoque de la sem\u00e1ntica visual, abordando los significados de las im\u00e1genes propuestas con una radical modernidad que ha calado y est\u00e1 presente en la obra de muchos de los mejores fot\u00f3grafos contempor\u00e1neos. <\/p>\n\n\n\n

El color, a pesar de haber sido utilizado en los inicios de la fotograf\u00eda, siempre hab\u00eda sido tachado de impostura, de una a\u00f1adidura innecesaria para documentar los hechos. <\/p>\n\n\n\n

Sin embargo, algunos fot\u00f3grafos calificados como New American Color<\/em> \u2013Stephen Shore<\/a>,\u00a0Richard Mischach<\/a>,\u00a0Joel Sternfeld<\/a>,\u00a0Joel Meyerowitz<\/a>\u2013 pronto se dieron cuenta de que esa visi\u00f3n academicista y conservadora de la fotograf\u00eda no ten\u00eda sentido ni lugar en el incipiente auge de la publicidad, los televisores y un mundo saturado de im\u00e1genes que aparec\u00edan ante sus ojos, precisamente, saturadas a color.<\/p>\n\n\n\n

Eggleston fue el padre de todos ellos. Sus colores recreaban una realidad en apariencia casual e insignificante, pero revelaban las ocultas grietas\u00a0que se escond\u00edan tras los objetos. <\/p>\n\n\n\n

A pesar de la importancia del color, Eggleston declaraba que no se deb\u00eda ver este como la esencia de sus fotograf\u00edas, sino uno de los m\u00faltiples puntos de apoyo en los que el espectador puede situarse a la hora de leer una instant\u00e1nea.\u00a0<\/p>\n\n\n\n

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A principios del siglo XXI, el escepticismo<\/a> que hab\u00eda recibido inicialmente el trabajo de Eggleston se hab\u00eda disipado en gran medida, y la retrospectiva William Eggleston: C\u00e1mara democr\u00e1tica, fotograf\u00edas y videos, 1961-2008<\/em> , que se origin\u00f3 en 2008 en el Museo Whitney de Arte Americano<\/a> ,  consolid\u00f3 su reputaci\u00f3n como un innovador experto. <\/p>\n\n\n\n

Por sus contribuciones a la fotograf\u00eda, Eggleston recibi\u00f3 el Premio Internacional de Fotograf\u00eda de la Fundaci\u00f3n Hasselblad en 1998 y un Sony World Photography Award en 2013.<\/p>\n\n\n\n

El legado de Eggleston es inabarcable, fue un fot\u00f3grafo \u00fanico (y un coleccionista compulsivo de c\u00e1maras) \ud83d\ude1b Tiene m\u00e1s de 300 Leicas\u2026<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Fuentes:<\/p>\n\n\n\n

http:\/\/ojoacromatico.blogspot.com\/2016\/07\/william-eggleston-la-rebelion-del-color.html<\/a><\/p>\n\n\n\n

https:\/\/www.britannica.com\/technology\/photography<\/a><\/p>\n\n\n\n

www.lemiaunoir.com\/william-eggleston-fotografo-revoluciono-la-fotografia-color<\/a><\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

William Eggleston William Eggleston\u00a0es considerado una de las figuras clave en la evoluci\u00f3n y reconocimiento art\u00edstico de la fotograf\u00eda en 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