{"id":"cma-128363","titulo":{"en":"Villerville Seen from Le Ratier, 1855","es":"Villerville visto desde Le Ratier, 1855"},"titulo_original":"Villerville Seen from Le Ratier","autor":"Charles François Daubigny (French, 1817–1878)","fecha":"1855","cultura":"France, 19th century","tecnica":"oil on fabric","fuente":"Cleveland Museum of Art","licencia":"CC0-1.0","licencia_url":"https://creativecommons.org/publicdomain/zero/1.0/","credito":"Cleveland Museum of Art, Bequest of William G. Mather","url_original":"https://clevelandart.org/art/1951.323","imagen_url":"https://openaccess-cdn.clevelandart.org/1951.323/1951.323_web.jpg","ficha":{"en":{"titulo":"Villerville Seen from Le Ratier, 1855","se_ve":"The painting is a broad, low horizontal panorama divided into two large, unequal bands. The upper half is an immense sky of dense clouds, painted with broad, visible brushstrokes in grays, creamy whites, and pale blues; toward the right, the clouds darken to almost charcoal gray and open into small breaks of light. The lower half is a dark coast in the foreground, with almost no reflected sky: low, uneven rocks covered with seaweed, in greenish blacks, very dark browns, and muted ochres, with a rough, damp, heavy texture. There are no visible human figures or animals. The eye moves across this broken surface, with small pools and hollows barely suggested among the rocks, toward a thin strip of pale sand and calm sea at the center and to the left. On the horizon, just right of center, a gentle hill rises with green vegetation and small, whitish and reddish houses clustered together: the coastal town. The light is diffuse, as on an overcast day, but a luminous band on the horizon separates the pale sea from the sky and contrasts with the almost opaque shadow of the foreground. In the lower right corner, the signature and date can be made out.","contexto":"According to the source, this is Villerville Seen from Le Ratier, dated 1855, by the French painter Charles François Daubigny (1817-1878), in oil on fabric. The source identifies Villerville as a town on the Normandy coast and describes Daubigny as a pioneer of outdoor painting and a major influence on Claude Monet and the Impressionists. He developed a kind of natural landscape based on outdoor studies of light, water, and atmospheric conditions. Here, streaks of bright light along the horizon set off the dark masses of the rocky shore in the foreground. The specific day, weather, and circumstances of its making are not known.","como_mirarla":"Start with the dark foreground and notice how little detail it offers at first, then let your eye travel toward the pale band at the horizon. Next, look for the small town just right of center: its houses are tiny, yet they give scale to the whole coast. Finally, compare the sky and the rocks: one moves and changes, the other seems still and heavy.","dato_curioso":"Two years after this painting, in 1857, Daubigny turned a boat into a floating studio, the Botin, so that he could paint rivers and banks directly from the water.","preguntas":["How does the mood of the landscape change if we imagine this same coast under a clear, sunny sky?","Why might a painter devote so much space to empty rocks and clouds, and so little to the town that gives the work its title?","What does it feel like to be in a place with no visible people, where the weather seems to be the main character?"]},"es":{"titulo":"Villerville visto desde Le Ratier, 1855","se_ve":"La obra es un panorama horizontal, ancho y bajo, dividido en dos grandes franjas desiguales. La mitad superior la ocupa un cielo inmenso de nubes densas, pintadas con pinceladas amplias y visibles en grises, blancos cremosos y azules pálidos; hacia la derecha, las nubes se oscurecen hasta casi el gris carbón y dejan pequeños claros de luz. La mitad inferior es una costa oscura en primer plano, casi sin reflejo del cielo: rocas bajas, irregulares y cubiertas de algas, en negros verdosos, cafés muy oscuros y ocres apagados, con una textura rugosa, húmeda y pesada. No hay figuras humanas ni animales visibles. La mirada avanza sobre esa superficie accidentada, con pequeños charcos y hondonadas apenas insinuados entre las rocas, hasta una franja delgada de arena clara y mar tranquilo al centro y a la izquierda. En el horizonte, un poco a la derecha del centro, se recorta una colina suave con vegetación verde y casas pequeñas, blanquecinas y rojizas, agrupadas: el pueblo costero. La luz es difusa, como de un día nublado, pero una banda luminosa en el horizonte separa el mar pálido del cielo y contrasta con la sombra casi opaca del primer plano. En la esquina inferior derecha se distingue la firma y la fecha.","contexto":"Según la fuente, esta es Villerville visto desde Le Ratier, de 1855, del pintor francés Charles François Daubigny (1817-1878), en óleo sobre tela. La fuente ubica Villerville en la costa de Normandía y presenta a Daubigny como pionero de la pintura al aire libre y una influencia importante en Claude Monet y los impresionistas. Desarrolló un paisaje natural basado en estudios al aire libre de la luz, el agua y las condiciones atmosféricas. Aquí, los destellos de luz brillante en el horizonte resaltan las masas oscuras de la costa rocosa en primer plano. No se sabe el día, el clima exacto ni las circunstancias concretas en que se pintó.","como_mirarla":"Empieza por el primer plano oscuro y nota lo poco que se distingue al principio; después deja que la mirada avance hacia la franja pálida del horizonte. Busca luego el pueblo, un poco a la derecha del centro: sus casas son diminutas, pero dan escala a toda la costa. Al final, compara el cielo y las rocas: uno se mueve y cambia, las otras parecen quietas y pesadas.","dato_curioso":"Dos años después de esta pintura, en 1857, Daubigny convirtió un bote en un taller flotante, el Botin, para pintar ríos y orillas directamente desde el agua.","preguntas":["¿Cómo cambiaría el ánimo del paisaje si imaginamos esta misma costa con un cielo despejado y soleado?","¿Por qué un pintor dedicaría tanto espacio a rocas y nubes vacías, y tan poco al pueblo que da título a la obra?","¿Qué se siente estar en un lugar sin personas visibles, donde el clima parece ser el protagonista?"]}},"etiquetas":{"en":["normandy coast","outdoor painting","oil on fabric","cloudy sky","rocky shore","marine landscape","19th-century france","atmospheric light","pre-impressionism","solitude","nature","horizon"],"es":["costa de normandía","pintura al aire libre","óleo sobre tela","cielo nublado","costa rocosa","paisaje marino","francia del siglo xix","luz atmosférica","preimpresionismo","soledad","naturaleza","horizonte"]},"objetos":["cloudy sky","rocky shore","seaweed-covered rocks","sea","sandy strip","hillside","coastal town","small houses"],"colores":["#2a2c24","#4a4d42","#8b8e88","#c9c5b6","#d8d2bd","#7d8f76"],"animo":["calma sombría y solitaria"],"epoca":"1855, nineteenth-century France","certeza":"alta","advertencias":[],"capa":{"voces":[{"guia":"la restauradora","en":"As a restorer I focus on the material of this 1855 oil on canvas. I see two uneven bands: above, an immense sky built with broad, visible brushstrokes in grays, creamy whites and pale blues that darken to charcoal gray on the right. Below, the rocky shore is a dark, rough and damp mass in greenish blacks and deep browns with seaweed. I am struck by how the diffuse light on the pale horizon contrasts with that opaque, heavy shadow in the foreground, staying strictly with what is visible and not adding anything beyond.","es":"Como restauradora me detengo en la materia de este óleo sobre tela de 1855. Veo dos franjas desiguales: arriba un cielo inmenso hecho con pinceladas amplias y visibles en grises, blancos cremosos y azules pálidos que se oscurecen hacia la derecha hasta el gris carbón. Abajo la costa rocosa es una masa oscura, rugosa y húmeda en negros verdosos y cafés profundos con algas. Me interesa cómo la luz difusa del horizonte pálido contrasta con esa sombra opaca y pesada del primer plano, sin inventar más allá de lo visible."},{"guia":"el astrónomo aficionado","en":"From my perspective as an amateur astronomer this wide horizontal panorama feels like a study of atmospheric light. The sky takes up the upper half and dominates with dense clouds and small breaks where light filters through, separated from the sea by a luminous band on the horizon. Below, the dark coast barely reflects the sky and creates a stark contrast between shadow and brightness. There are no human or animal figures, only rocks, a pale sandy strip, calm sea and the distant town on the hill in the distance. It all speaks of weather and atmosphere observed outdoors.","es":"Desde mi mirada de astrónomo aficionado este panorama horizontal me parece un estudio de luz atmosférica. El cielo ocupa la mitad superior y domina todo con nubes densas y claros pequeños donde se cuela luz, separadas del mar por una banda luminosa en el horizonte. Abajo la costa oscura casi no refleja el cielo y crea un contraste fuerte entre sombra y claridad. No hay figuras humanas ni animales, solo rocas, arena clara, mar tranquilo y a lo lejos el pueblo en la colina. Todo habla de clima y atmósfera observados al aire libre."},{"guia":"la niña de ocho años","en":"This painting makes me feel like I am standing on slippery wet stones. The sky is huge and completely full of gray and white clouds that look like they are moving. Down below everything is dark, like rocks with seaweed and little puddles between them. Far away you can see a pale little beach and a tiny town with small white and reddish houses on a green hill. There are no people or little animals and everything looks quiet and a bit lonely, but I really like the little light on the horizon because it shines.","es":"Esta pintura me hace sentir que estoy parada sobre piedras resbalosas y mojadas. El cielo es gigante y está llenísimo de nubes grises y blancas que parecen moverse. Abajo todo es oscuro, como rocas con algas y charquitos entre ellas. A lo lejos se ve una playita clara y un pueblito chiquito con casitas blancas y rojitas en una colinita verde. No hay personas ni animalitos y todo se ve silencioso y un poco triste, pero la lucecita del horizonte me gusta mucho porque brilla."}],"retos":[{"pregunta":{"en":"Look at the dark foreground: what covers the low rocks and gives them a greenish damp tone?","es":"Mira el primer plano oscuro: ¿qué cubre las rocas bajas y les da un tono verdoso y húmedo?"},"pista":{"en":"It is not sand or water, it is what makes the stones look slippery and greenish-black.","es":"No es arena ni agua, es lo que hace que las piedras se vean resbalosas y verdinegras."}},{"pregunta":{"en":"On the horizon, a little to the right of center, what appears on a green hill with small whitish and reddish houses?","es":"En el horizonte, un poco a la derecha del centro, ¿qué se asoma sobre una colina verde con casitas blanquecinas y rojizas?"},"pista":{"en":"It is a cluster of small houses outlined against the sky, far from the dark rocks.","es":"Es un grupo de casas pequeñas que se recorta contra el cielo, lejos de las rocas oscuras."}},{"pregunta":{"en":"The painting is divided into two uneven bands: what fills the upper half and is painted in grays, creamy whites and pale blues?","es":"La pintura está dividida en dos franjas desiguales: ¿qué ocupa la mitad superior y está pintada con grises, blancos cremosos y azules pálidos?"},"pista":{"en":"It is immense, full of clouds with broad brushstrokes and leaves a luminous band above the sea.","es":"Es inmenso, está lleno de nubes con pinceladas amplias y deja una banda luminosa sobre el mar."}}],"conexiones":["cielo nublado","costa rocosa","luz atmosférica","pintura al aire libre","horizonte y mar","óleo sobre tela","paisaje sin figuras","Normandía en el siglo XIX"]},"salas":["mirando-al-horizonte","rocas-con-cara"],"escrita_por":"muse-wonder-1.0"}