Chi guarda chi? Una piccola riflessione su “Las meninas” di Velasquez

velasquez

Uno dei quadri più importanti e ricchi di implicazioni e simbolismo della storia dell’arte moderna, è Las meniñas di Velasquez, del 1656.
 
Seguendo una linea che a me piace chiamare, della “perspicuità”, la pittura olandese del 600 è sempre stata accostata al realismo dettagliato e vivido, basti pensare a Vermeer, Van Dyck, alle loro luci precise, diurne. Vedere meglio, ma vedere anche oltre, i quadri di questi pittori ci catapultano non solo nel doppio della realtà come la vediamo, restituendo una copia che fa a gara con il reale, ma ci rendono pienamente partecipi dell’esperienza visiva, dell’esperienza della rappresentazione e della composizione dell’opera d’arte. Con Velasquez e Las meniñas questo processo giunge al culmine: siamo parte del quado che ritrae le giovani eredi del trono di Spagna. Come riesce a fare ciò ce lo spiega bene Foucault in una celebre lettura acuta del quadro.
Anzitutto ci invita a guardare agli attori che campeggiano in prima linea nel quadro: al centro è l’infanta Margherita, erede al trono di Spagna. Il palcoscenico sembrerebbe suo, ma è soltanto una fugace impressione. A lato le comprimarie della piccola, col loro seguito di pose e un cane che dorme beato.
A lato il pittore, che guarda. Chi per l’esattezza? Il re Filippo IV e la regina che si specchiano e si mostrano a dal riflesso? In questo momento, dice Foucault, egli esce dal quadro e dialoga con noi spettatori che lo guardiamo. Si apre il primo squarcio tra visibile e invisibile. Siamo già parte della rappresentazione del quadro. E anche il pittore, figura solitamente anonima una presenza assente per così dire, trova il suo spazio e la sua parola. Ma aggiunge, siamo veduti o in atto di vedere, soggetti o oggetti della rappresentazione? La presenza del cortigiano Josè Nieto, sullo sfondo mi sembra essere il vero punto di fuga della composizione. Nella rappresentazione del potere, e nel gioco degli sguardi multipli, Velasquez sembra darci la possibilità di uscire da questa parata. Mi sembra suggerire, “se volete uscire ecco pure la porta, se rimanete qui, viceversa, sappiate che il potere ha sempre lo sguardo altrui come alimento e mai potrà essere diversamente. Noi spettatori alimentiamo la corte e i suoi rituali. E lo specchio, vero protagonista e strumento della duplicazione semantica, è quasi dimenticato in un angolo. Come nell’altro celebre e magnifico quadro dei coniugi Arnolfini di Jan Van Eyck,  sicuro modello del Velasquez.
 
Vale la pena ricordare la citazione sotto forma di ecfrasi inventata che fa Sciascia nel finale del romanzo Il contesto del 1971. Rogas , il commissario e Amar vengono trovati uccisi in due sale adiacenti della Galleria Nazionale, l’uno sotto «il quadro della Madonna della Catena di ignoto fiorentino del quattrocento», l’altro «sotto il famoso ritratto di Lazaro Cardenas del Velasques» In realtà questi quadri non esistono e il nome di Lazaro è quello di un rivoluzionario messicano. Ma il riferimento al pittore dei re è emblematico: prefigura la morte degli ideali in nome della rivoluzione che poi diventa immobilismo. E aggiungo, nel contesto, “Il travestimento comico di un’opera seria”, la grande riflessione sul potere si dipana nei mille rivoli della pusillanimità e dell’omertà, delle minacce velate, delle finte risate, delle smorfie consapevoli, in in tutta quella fisiognomica dello sguardo che tanto ricorda l’arte di Vealsquez.  E poi, come non ricordare Innocenzio X di Francis Bacon? Ma qui si apre un altro denso capitolo. Alla prossima.
 
#pilloledarte

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