{"id":1916,"date":"2024-12-13T21:55:46","date_gmt":"2024-12-13T21:55:46","guid":{"rendered":"https:\/\/revistaquiote.org\/?p=1916"},"modified":"2025-04-29T19:05:07","modified_gmt":"2025-04-29T19:05:07","slug":"1916","status":"publish","type":"post","link":"https:\/\/revistaquiote.org\/?p=1916","title":{"rendered":"RAM\u00d3N DUR\u00c1N Y EL ESPEJO DE LA PLACA DE GRABADO"},"content":{"rendered":"

[et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_row _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_heading title=\u00bbRam\u00f3n Dur\u00e1n y el espejo de la placa de grabado\u00bb _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_heading][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_text _builder_version=\u00bb4.27.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n

Fernando G\u00e1lvez de Aguinaga<\/p>\n

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Las obras art\u00edsticas que se incluyen en este art\u00edculo fueron impresas por Ram\u00f3n Dur\u00e1n. En esta p\u00e1gina:<\/strong> Paulina Jaimes, aguatinta, aguafuerte y esgrafiado<\/span>.<\/p>\n

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Hace m\u00e1s de cuarenta a\u00f1os que Ram\u00f3n Dur\u00e1n entr\u00f3 al<\/strong> universo de las artes de la estampa por la puerta grande. Sin siquiera intuirlo, ajeno totalmente a los c\u00edrculos art\u00edsticos y a la historia del arte, con el \u00e1nimo para ganarse unos pesos y poder sostenerse, entr\u00f3 a trabajar a uno de los talleres art\u00edsticos m\u00e1s relevantes del siglo XX en M\u00e9xico, el afamado Kyron de Andrew Vlady (vale decir que al momento de escribir estas l\u00edneas se presenta en Oaxaca una gran exposici\u00f3n de ese taller en el Centro Cultural San Pablo). Andrew Vlady me cont\u00f3 que para conseguir impresores, prefer\u00eda formarlos desde muy j\u00f3venes, ense\u00f1arles el oficio desde el mero inicio y que supieran, paso por paso, procedimiento por procedimiento, el camino de las piedras litogr\u00e1ficas, y aunque manejaban y les ense\u00f1aba otras t\u00e9cnicas, la primera y central era la litograf\u00eda.<\/p>\n

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\u00a0 \u00a0Vlady quer\u00eda tener el control de todo lo que ense\u00f1aba, pues no pod\u00eda darse el lujo de esa vieja idea de que echando a perder se aprende. En Kyron no hab\u00eda margen de error, pues se trataba de estampar las ediciones art\u00edsticas de Tamayo, Toledo, Z\u00fa\u00f1iga\u2026 hab\u00eda que ser perfectos, estar a la altura de las l\u00edneas de todos los grandes maestros que por ah\u00ed pasaban. Las impresiones deb\u00edan responder, no s\u00f3lo al dibujo y los colores desarrollados por el artista sobre la piedra caliza, sino ayudar en di\u00e1logo con el creador, a que esas im\u00e1genes fueran la representaci\u00f3n exacta de lo que el artista deseaba, puesto que cada l\u00ednea, cada efecto visual, cada tonalidad crom\u00e1tica era un tesoro invaluable.<\/p>\n

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\u00a0 \u00a0Dur\u00e1n era un jovencito y no estaba ni de cerca consciente de qui\u00e9nes eran los grandes maestros a los que les ten\u00eda que resolver t\u00e9cnicamente las propuestas que quer\u00edan en la piedra. Cuando, a\u00f1os despu\u00e9s de su iniciaci\u00f3n con Toledo y Tamayo, aquilat\u00f3 la dimensi\u00f3n trascendental de esos nombres y esos trazos. Ram\u00f3n Dur\u00e1n supo que era parte del engranaje de la historia Cultural de M\u00e9xico y que su silencioso aporte era el universo donde quer\u00eda desarrollarse por el resto de sus d\u00edas.<\/p>\n

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\u00a0 \u00a0Entre las cuatro esquinas romas de la roca, en la estricta disciplina casi mon\u00e1stica que Vlady impon\u00eda a sus maestros lit\u00f3grafos, Dur\u00e1n aprendi\u00f3 que la pasi\u00f3n, la locura y la hilaridad vuelta imagen por uno de los grandes maestros con los que trabajaba, requer\u00eda la exactitud de la interpretaci\u00f3n t\u00e9cnica, pues no pod\u00eda desperdiciarse un punto, una l\u00ednea de la expresi\u00f3n sublime y poderosa, a la vez, de cualquiera de los inmensos dibujantes que la vida hab\u00eda puesto en su camino.<\/p>\n

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\u00a0 \u00a0As\u00ed, su vida se pobl\u00f3 de poemas visuales. Despu\u00e9s de una d\u00e9cada, comenz\u00f3 a recorrer otros talleres y aprendi\u00f3 otras t\u00e9cnicas de impresi\u00f3n: el grabado en metal, la xilograf\u00eda en madera, los lin\u00f3leos tradicionales y los monotipos. Cuando al fin pudo armar su propio taller de artes gr\u00e1ficas, le puso simplemente su nombre, Taller de Gr\u00e1fica Ram\u00f3n Dur\u00e1n, pues las prensas y t\u00f3rculos ya eran su biograf\u00eda; la tinta, su sangre y sus l\u00e1grimas; el papel, la piel que deja hecha girones en cada jornada con los grandes nombres de la cultura mexicana.<\/p>\n

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\u00a0 \u00a0El rostro de Dur\u00e1n usa cotidianamente el espejo de las placas met\u00e1licas de zinc o cobre, o aluminio. Al ver su rostro en las l\u00e1minas recortadas, sabe que es el amanecer de su verdadero d\u00eda, mientras que la cara que le devuelve la superficie de azogue de su espejo en el ba\u00f1o, parece que todav\u00eda no est\u00e1 terminada de dibujar. Cuando llega, en cambio, a ver una exposici\u00f3n, como la retrospectiva gr\u00e1fica de Rufino Tamayo que se mostr\u00f3 en a\u00f1os recientes, y ve alguna estampa del gran maestro oaxaque\u00f1o en la que le toc\u00f3 participar, siente que est\u00e1 ante una p\u00e1gina de su diario. Se emociona, empieza a mandarle a sus amigos fotos de la pieza art\u00edstica y de las sesiones que tuvo con aquellos gigantes de la imaginaci\u00f3n.<\/p>\n

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Daniel Lezama, monotipo.<\/p>\n

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Samuel Mel\u00e9ndez, monotipo<\/p>\n

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\u00a0 \u00a0Como empez\u00f3 tan joven en estos rumbos entintados, ya son tres o cuatro generaciones que se han puesto en sus manos para imprimir sus ideas. De Tamayo a Toledo, de Toledo a los Casto Le\u00f1ero, de los Castro Le\u00f1ero a Daniel Lezama y \u00c9rik P\u00e9rez, de estos \u00faltimos, a los chicos que participan en sus cursos en el Taller del Complejo Cultural los Pinos. La hilera de las impresiones que ha hecho pueden contar ya una larga historia de la gr\u00e1fica mexicana.<\/p>\n

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Patricia S\u00e1nchez saiffe, monotipo<\/p>\n

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Fernando G\u00e1lvez de AguinagaLas obras art\u00edsticas que se incluyen en este art\u00edculo fueron impresas por Ram\u00f3n Dur\u00e1n. En esta p\u00e1gina: Paulina Jaimes, aguatinta, aguafuerte y esgrafiado.Hace m\u00e1s de cuarenta a\u00f1os que Ram\u00f3n Dur\u00e1n entr\u00f3 al universo de las artes de la estampa por la puerta grande. Sin siquiera intuirlo, ajeno totalmente a los c\u00edrculos art\u00edsticos […]<\/p>\n","protected":false},"author":1,"featured_media":1919,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[185],"tags":[204,205,14,206,203,207,201,202],"ppma_author":[196],"class_list":["post-1916","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-numero-tres","tag-andrew-vlady","tag-centro-cultural-san-pablo","tag-grabado","tag-grafica-mexicana","tag-kyron","tag-monotipo","tag-ramon-duran","tag-rufino-tamayo"],"yoast_head":"\nRAM\u00d3N DUR\u00c1N Y EL ESPEJO DE LA PLACA DE GRABADO - REVISTA QUIOTE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/revistaquiote.org\/?p=1916\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"RAM\u00d3N DUR\u00c1N Y EL ESPEJO DE LA PLACA DE GRABADO - REVISTA QUIOTE\" \/>\n<meta property=\"og:description\" content=\"Fernando G\u00e1lvez de AguinagaLas obras art\u00edsticas que se incluyen en este art\u00edculo fueron impresas por Ram\u00f3n Dur\u00e1n. 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