Page 14 - El Rostro Enfermo

Introducción / Introduction

De izquierda a derecha, La infanta humans to frighten the credulous human beings.
doña Margarita de Austria, por Today, however, we may discover, in the
J. B. Martínez del Mazo, h. 1665, y representation of these unfortunate beings
Retrato de la condesa de Tournon, who suffered the disease, pain and cruelty of
por J.-A.-D. Ingres, 1812. his contemporaries, the true aim of the greatest
Left to right, The Infant Margaret
of Austria, by J. B. Martínez del artists, geniuses who sought to arouse the
Mazo, and Portrait of the Countess compassion, tenderness and indulgence that
of Tournon, by J.-A.-D. Ingres. every human being carries in his heart. And this is
how the authors of the work that the reader has
Si en una anterior publicación (Goya y las de- in his hands, have approached this geography of
formidades dentofaciales) nos acercábamos the face that we present below.
con curiosidad a la trayectoria pictórico-vital de If in a previous publication (Goya’s painting and
Francisco de Goya como paisaje de fondo, para dentofacial deformities) we approached the
analizar en primer plano las deformidades facia- pictorial-vital trajectory of Francisco de Goya
les, nuestra actual propuesta, siempre dentro with curiosity, as a background to analyze facial
del marco acotado por el permanente diálogo deformities in the foreground, our current
entre pintura y enfermedad, se revela mucho proposal, always within the framework of the
más ambiciosa. Y no es otra que la de tratar de constant dialogue between painting and disease,
explicar la variedad de deformidades faciales a is far more ambitious. And it is none other than
través del estudio de cincuenta obras pictóricas trying to explain the variety of facial deformities
representativas de diversas épocas y apuestas through the study of fifty paintings representative
estilísticas, como siempre, escogidas bajo la of different periods and stylistic challenges,
premisa subjetiva de la observación como de- chosen as usual, under the subjective premise of
formación profesional. observation as “déformation professionnelle”.

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