La transformación del espacio en la obra mural de Gabriel Flores

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Esta publicación aborda las relaciones entre el muralismo de Gabriel Flores y la arquitectura bajo el concepto de “distorsión espacial”, tomado de la conjugación del “principio de constancia” de Rudolf Arnheim con el “espacio mural” de Aurelio Vallespín, cuyas respectivas teorías se discutirán el primer capítulo. Para los fines de este texto se define como la capacidad del mural de modificar la percepción que un individuo tiene sobre un espacio arquitectónico real.
El fenómeno se juzgará no sólo con los datos gráficos y documentales recopilados, sino con el enfoque del contexto histórico, social e ideológico a fin de determinar cómo es que se da la transformación del espacio en la mente del observador, así como el resultado de dicha metamorfosis. En ese sentido, se optó por seleccionar dos murales que representaran los dos extremos del potencial de transformación, es decir, un caso en el que el mural fortalezca al máximo las cualidades espaciales de la arquitectura contra otro en el que las facultades de la representación pictórica anulen la capacidad del observador de concebir el espacio real. Ambos casos son formalmente diferentes y significaron un reto para el autor.
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Agradecimientos
Introducción
Primera parte: Guadalajara, Gabriel Flores y el siglo XX
I. El escenario cultural en Guadalajara
II. Gabriel Flores, un muralista introspectivo
Segunda parte: El mural, la arquitectura y el espacio
III. Los efectos espaciales de la pintura mural
IV. El Parnaso jalisciense
V. La obra de Cervantes
Epílogo
Anexos
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