It is an actuality topic, but it has always been there.

The track has come to us to the writing on this text of Eduardo Galeano who wrote in 2004 on Haiti and who now receives a major interest.

Eduardo Galeano

The first day of this year, the freedom fulfilled two centuries of life in the world. Nobody found out, or almost anybody. A few days later, the country of the birthday, Haiti, went on to occupy some space in the mass media; but not for the anniversary of the universal freedom, but because there came untied there a blood bath that ended up by turning the president Aristide over. Pocos días después, el país del cumpleaños, Haití, pasó a ocupar algún espacio en los medios de comunicación; pero no por el aniversario de la libertad universal, sino porque se desató allí un baño de sangre que acabó volteando al presidente Aristide.

Haiti was the first country where the slavery was abolished. Nevertheless, the most widely used encyclopedias and almost all the texts of education attribute to England this historical honor. It is true that a good day changed of opinion the empire that had been a world champion of the slave traffic; but the British abolition happened in 1807, three years after the Haitian revolution, and turned out to be so slightly convincing that in 1832 England had to prohibit the slavery again. Es verdad que un buen día cambió de opinión el imperio que había sido campeón mundial del tráfico negrero; pero la abolición británica ocurrió en 1807, tres años después de la revolución haitiana, y resultó tan poco convincente que en 1832 Inglaterra tuvo que volver a prohibir la esclavitud.

Nothing has again the ninguneo of Haiti. For two centuries, he suffers scorn and punishment. Thomas Jefferson, worthy of the freedom and slaves' owner, was warning that from Haiti the bad example was coming; and he was saying that there was that “to confine the pest in this island”. Its country listened to it. The United States stayed on sixty years granting diplomatic recognition to the freest of the nations. Meanwhile, in Brazil, it was called haitianismo to the disorder and to the violence. The proprietors of the black arms were saved from the haitianismo until 1888. This year, the Brazil abolished the slavery. It was the last country in the world. Thomas Jefferson, prócer de la libertad y propietario de esclavos, advertía que de Haití provenía el mal ejemplo; y decía que había que “confinar la peste en esa isla”. Su país lo escuchó. Los Estados Unidos demoraron sesenta años en otorgar reconocimiento diplomático a la más libre de las naciones. Mientras tanto, en Brasil, se llamaba haitianismo al desorden y a la violencia. Los dueños de los brazos negros se salvaron del haitianismo hasta 1888. Ese año, el Brasil abolió la esclavitud. Fue el último país en el mundo.

Haiti has been an invisible country again, up to the next butcher's shop. While it was on the screens and on the pages, at the beginning of this year, the means transmitted confusion and violence and confirmed that the Haitians have been born to be right the evil and to be badly the right.

From the revolution for here, Haiti has been only capable of offering tragedies. It was a prosperous and happy colony and now it is the poorest nation of the western hemisphere. The revolutions, some specialists concluded, they drive to the abyss. And some of them said, and others suggested, that the Haitian tendency to the fratricide comes from the wild heredity that comes from the Africa. The order of the ancestors. The black curse, which it pushes to the crime and to the chaos. Las revoluciones, concluyeron algunos especialistas, conducen al abismo. Y algunos dijeron, y otros sugirieron, que la tendencia haitiana al fratricidio proviene de la salvaje herencia que viene del Africa. El mandato de los ancestros. La maldición negra, que empuja al crimen y al caos.

Of the white curse, one did not speak.

— Which has the most prosperous diet been for the colonies?

— the previous one.

— since, that is restored.

And, to re-implant the slavery in Haiti, he sent more than fifty ships full of soldiers.

The raised blacks conquered France and conquered the national independence and the liberation of the slaves. In 1804, they inherited a ground devastated by the devastating plantations of sugar-cane and a country burned by the fierce war. And they inherited “the French debt”. France the humiliation inflicted on Napoleón Bonaparte received face. To little of being born, Haiti had to promise to pay a gigantic indemnification, for the damage that had done being liberated. This atonement of the sin of the freedom cost him 150 million Francs I pray. The new country was born strangulated by this cord tied to the neck: a fortune that at present would be equivalent to 21,700 million dollars or to 44 entire budgets of the Haiti of our days. Much more than one century took the payment of the debt, which the usury interests were multiplying. In 1938 the final redemption was fulfilled, finally. By that time, already Haiti belonged to the banks of the United States. Y heredaron “la deuda francesa”. Francia cobró cara la humillación infligida a Napoleón Bonaparte. A poco de nacer, Haití tuvo que comprometerse a pagar una indemnización gigantesca, por el daño que había hecho liberándose. Esa expiación del pecado de la libertad le costó 150 millones de francos oro. El nuevo país nació estrangulado por esa soga atada al pescuezo: una fortuna que actualmente equivaldría a 21,700 millones de dólares o a 44 presupuestos totales del Haití de nuestros días. Mucho más de un siglo llevó el pago de la deuda, que los intereses de usura iban multiplicando. En 1938 se cumplió, por fin, la redención final. Para entonces, ya Haití pertenecía a los bancos de los Estados Unidos.

Simón Bolívar did not also recognize it, although it owed everything to him. Ships, weapon and soldiers it had given him Haiti in 1816, when Bolivar came to the island, defeated, and he asked for cover and help. Everything gave him Haiti, with the alone condition of which it was liberating the slaves, an idea that till then had not occurred to him. Later, the worthy triumphed in its independence war and expressed its gratitude sending to Port-au-Prince a gift sword. Of recognition, to speak. Todo le dio Haití, con la sola condición de que liberara a los esclavos, una idea que hasta entonces no se le había ocurrido. Después, el prócer triunfó en su guerra de independencia y expresó su gratitud enviando a Port-au-Prince una espada de regalo. De reconocimiento, ni hablar.

In fact, the Spanish colonies that had spent to be independent countries kept on having slaves, although someone had, also, laws that were prohibiting it. Bolivar dictated his in 1821, but the reality was not considered well-informed. Thirty years later, in 1851, Colombia abolished the slavery; and Venezuela in 1854. Treinta años después, en 1851, Colombia abolió la esclavitud; y Venezuela en 1854.

The civilizing mission concluded in 1934. The occupants moved back stopping in its place a Guardswoman made by them, to exterminate any possible democracy hint. The same they did in Nicaragua and in the Dominican Republic. Some time later, Duvalier was the Haitian equivalent of Somoza and of Trujillo. Lo mismo hicieron en Nicaragua y en la República Dominicana. Algún tiempo después, Duvalier fue el equivalente haitiano de Somoza y de Trujillo.

Aristide, the rebellious priest, came to the presidency in 1991. It lasted a few months. The government of the United States helped to knock down it, took it, submitted it to treatment and once recycling returned it, in arms of the marines, to the presidency. And again it helped to knock down it, in this year 2004, and again there was slaughter. And again there returned the marines, who always return, like the flu. El gobierno de los Estados Unidos ayudó a derribarlo, se lo llevó, lo sometió a tratamiento y una vez reciclado lo devolvió, en brazos de los marines, a la presidencia. Y otra vez ayudó a derribarlo, en este año 2004, y otra vez hubo matanza. Y otra vez volvieron los marines, que siempre regresan, como la gripe.

But the international experts are much more devastating than the invading troops. Submissive country to the orders of the World Bank and of the Monetary Fund, Haiti had obeyed its instructions without chistar. They paid away from him denying the bread and the salt to him. The credits froze him, although it had dismantled the State and had liquidated all the tariffs and subsidies that were protecting the national production. The rural growers of rice, which were the majority, turned into beggars or ferrymen. Many have gone and keep on going to stop to the depths of the Caribbean sea, but these castaways are not Cuban and rarely they appear in the newspapers. Le pagaron negándole el pan y la sal. Le congelaron los créditos, a pesar de que había desmantelado el Estado y había liquidado todos los aranceles y subsidios que protegían la producción nacional. Los campesinos cultivadores de arroz, que eran la mayoría, se convirtieron en mendigos o balseros. Muchos han ido y siguen yendo a parar a las profundidades del mar Caribe, pero esos náufragos no son cubanos y raras veces aparecen en los diarios.

Now Haiti imports all its rice from the United States, where the international experts, who are the quite absent-minded people, have forgotten to prohibit the tariffs and subsidies that protect the national production.

To another side, the black hell is. Blood and famine, misery, pests.

In this so awesome hell, they all are sculptors. The Haitians have the habit of gathering canisters and fierros old men and with ancient mastery, cutting away and hammering, its hands believe marvels that are offered on the popular markets.

Haiti is a country thrown to the garbage dump, for eternal punishment of its dignity. There it lies, as if it was a scrap. He waits for the hands of its people. Espera las manos de su gente.

Taken of the web

http://www.patriagrande.net/uruguay/eduardo.galeano/escritos/la_maldicion_blanca.htm

Eduardo Galeano is a writer and Uruguayan journalist who advocates an awkward journalism removed from the constant praise of the power, and he includes to the journalistic writing inside the ways of doing literature.

Magazine Atticus

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 The publishing team of Magazine Atticus has raised new challenges. We are studying the possibility of taking the magazine to role. We explore both the sources of financing and the market to which we want to come. For it we would need that you answer us three brief questions. Sondeamos tanto las fuentes de financiación como el mercado al que queremos llegar. Para ello necesitaríamos que nos contestes a tres breves preguntas.

With the edition in role you would have before you an elegant, elegant magazine, following the same line as the raised one up to the date in its electronic edition. Every number would be numbered and signed. The cost of the publication would be financed by the insertion of three/four commercials and the income of the sale of copies. The price of the magazine would be about 10 euros. It would consist of 96 sheets and its publication would be half-yearly (further on it might become quarterly). It would come to you to your house by mail postal. El coste de la publicación se financiaría con la inserción de tres/cuatro anuncios publicitarios y los ingresos de la venta de ejemplares. El precio de la revista rondaría los 10 euros. Constaría de 96 hojas y su publicación sería semestral (más adelante podría llegar a ser trimestral). Te llegaría a tu casa por correo postal.

The fact of answering the survey does not compromise you to anything. Only it is a question of seeing the interest of the publication and of seeing that copies throw they are necessary to cover the market. Thank you very much for your attention. Muchas gracias por tu atención.

The publishing team of Magazine Atticus.

We keep on being provided with your collaboration

http://revistaatticus.es/2010/01/22/te-vigilan

Luisjo

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 In the next number of Magazine Atticus (number 10) is incorporated by new photographers who were illustrating the pages with its photos and of step they will announce its work to us.

Rogelio Garcia Alonso, Luis Raimundo García and Jesus González López have confirmed its participation.

Of Luis Raimundo García I have chosen the photo they watch You to incite you, to invite you to take part. Come do not be lazy. To order something that occurs to you and that has to do with the photo. There can be a history, a poetry, a song, something. Until the day after the "enmaromados", that is to say, until February 15 you have time for the delivery. They will be published in the web and a selection of the best will go to RA10 and, perhaps, the best thing of the best thing to the edition of role that little by little is taking body. Mandar algo que se os ocurra y que tenga que ver con la foto. Puede ser un relato, una poesía, una canción, un algo. Hasta el día después de los “enmaromados”, es decir, hasta el 15 de febrero tenéis tiempo para la entrega. Se irán publicando en la web y una selección de los mejores irá a RA10 y, tal vez, lo mejor de lo mejor a la edición de papel que poco a poco va tomando cuerpo.

Certainly, once again, with the example it is preached.

I leave to you a history inspired by the photo that illustrates this entry. It goes for title Other inhabitants.

I hope that you should like.

Throughout the day, in some occasion, I feel that they spy on me, that I am observed. I do not know if this itself usually happens to you my dear readership or if this sensation is only a product of my imagination.

 But I cheer them up there to be attentive to its hunches and insurance that fall down in the account of which it is very possible that, perhaps, they are observing them.

 My thing goes a bit further away. I wonder often who or who inhabit my house when I am not in her. How, that you do not believe that there is a series of opportunists who occupy its hearth? ¿Cómo, que ustedes no se creen que haya una serie de aprovechados que ocupan su hogar?

 For suddenly me I have the healthy habit of throwing the key of the door of house whenever I go out with two returns of the drum. The reason I do this it is very simple. There is times that after going out of house one remembers of sé - qué-cosa-tenía-que-llevar-que-se-me-ha-olvidado. Well I step back and what I do to the descerrajar the door it is to warn my tenants that I have had to turn round myself, that they hide, that I do not want to startle myself. It is like not written code. They, “others” know perfectly of my schedules and know that the working days I am not at home in the morning, But: oh!, some day any contingency forces me to present before me at about 11 AM and after going out of the elevator I am doing noise with the keys so that they are taking its possessions and turn to its corners, that's why I like giving two returns to the key, the stragglers have time. Hay veces que nada más salir de casa se acuerda uno de no sé-qué-cosa-tenía-que-llevar-que-se-me-ha-olvidado. Pues bien retrocedo y lo que hago al descerrajar la puerta es avisar a mis inquilinos de que he tenido que darme la vuelta, que se escondan, que no me quiero sobresaltar. Es como un código no escrito. Ellos, “los otros” saben perfectamente de mis horarios y saben que los días laborables no estoy en casa por la mañana, Pero ¡ay!, algún día cualquier imprevisto me obliga a presentarme a media mañana y nada más salir del ascensor voy haciendo ruido con las llaves para que vayan tomando sus posesiones y se vuelvan a sus rincones, por eso me gusta dar dos vueltas a la llave, para dar tiempo a los rezagados.

 To what but does it obey that you find bottles of liquor that you do not touch in months and see that its content has gone down suspiciously? It is sure that you, since I they have noticed it in abundance but they do not say anything, do not comment not to its friends for fear at which they should look at them with mistrust. And: what do they say to me of this day when one returns to every peacefully and on having entered, after having given two returns to the key, they meet a burning light or an open closet? ¿qué me dicen de ese día cuando uno vuelve a cada tranquilamente y al entrar, después de haber dado las dos vueltas a la llave, se encuentran con una luz encendida o un armario abierto?

 Certainly, now they fall down and begin realizing that you, like me, are spied.

 I do not want to spread any more but remember these occasions in which they come to its house bath and meet the towel (or the bathrobe) fallen down in the soil. Hummm …, lizard, lizard.

 Going for the street or circulating along the car also I have had the sensation of being observed, like the woman of the photo, that peacefully, innocent person she, does not realize the look that over her it hangs. Sometimes we turn the sight, absently, as the one who does not want the thing to see if we catch our particular voyeur. But they, “others” are very skillful. I in more than one occasion am thinking about distinguishing in the darkness of the portal its silhouette. I become the absent-minded one when I go out of the elevator, but I know that they are there, anticipate it, the well-known thing. It is sure that if you read this now the life it is going to change to them and are going to be far-sighted. They are going to be attentive to these signs. I am sure that right now they are having this sensation, as if they were reading this itself simultaneously, behind you. They are on the point of finishing the history, but do not turn, do not look around him. And tomorrow when they go out of its house (they do not forget to throw a double return to the key), when they go out of the elevator, there they will be hidden in this corner where the light never comes. Go forward and think that this that they read is only a history. Pero ellos, “los otros” son muy hábiles. Yo en más de una ocasión creo distinguir en la oscuridad del portal su silueta. Me hago el distraído cuando salgo del ascensor, pero sé que están ahí, lo presiento, lo noto. Seguro que si ustedes leen esto ahora la vida les va a cambiar y van a estar prevenidos. Van a estar atentos a esas señales. Estoy seguro que ahora mismo están teniendo esa sensación, cómo si estuvieran leyendo esto mismo a la vez, detrás de ustedes. Están a punto de terminar el relato, pero no se vuelvan, no miren a su alrededor. Y mañana cuando salgan de su casa (no se olvidan de echar una doble vuelta a la llave), cuando salgan del ascensor, ahí estarán escondidos en ese rincón donde nunca llega la luz. Sigan adelante y piensen que esto que leyeron no es más que un relato.

 Luisjo

 To order your collaboration to this direction like comment or to the following post office:

luisjocuadrado@yahoo.es

revistaatticus@yahoo.es

 While it comes RA10 you can see the photos of these phenomena in

Luis Raimundo García

http://haciendoclick.blogspot.com/

 Jesus González

http://haciendoclack.blogspot.com/

 Rogelio García Alonso

www.rogalonso.com

www.flickr.com/photos/rogalonso

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Liliana Cristina García orders us to the writing of Magazine Atticus a critique of an interesting book that Salvador Robles has just published.

Salvador Robles Miras was born in Eagles (Murcia), although it resides in Bilbao from ten years. He is married and has a son. He is a journalist and pedagogue, and he has published up to the date 18 books: three novels (“Clear night”, “The life in the distance” and “Light of the silence”), five volumes of microrrelatos (“The grandparents also go to the school”, “The school without age”, “The eyes of the life”, “Glance is to find” and “Small words”) and eleven essay books, of psicopedagogía and literature informative. Es periodista y pedagogo, y ha publicado hasta la fecha 18 libros: tres novelas (“Noche clara”, “La vida en la distancia” y “La luz del silencio”), cinco volúmenes de microrrelatos (“Los abuelos también van a la escuela”, “La escuela sin edad”, “Los ojos de la vida”, “Mirar es encontrar” y “Pequeñas palabras”) y once libros de ensayo, de psicopedagogía y literatura divulgativas.

Small words

In the Letters everything is possible. It is possible to tack feelings, to rock them, to renounce them, to hoard them in the depth of the heart and of the reason, but also it is possible to play with the words, to approach them putting the best thing of to come to the reader and to catch it in this wonderful game where the reality disguised as fantasy, begins to fly opening way to him between the attention and the astonishment. Salvador Robles possesses an extraordinary skill to transmit these daily experiences, which turned into histories, are erected in the conductive thread of this new book. Another seventeen qualifications of the same author, of Essay, Novel and Pedagogics, precede it and endorse. Salvador Robles posee una habilidad extraordinaria para transmitir esas vivencias cotidianas, que convertidas en relatos, se erigen en el hilo conductor de este nuevo libro. Otros diecisiete títulos del mismo autor, de Ensayo, Novela y Pedagogía, lo preceden y avalan.

Self-critical excellent, he prefers to give to each of its stories the necessary approval time so that they mature in quality and come to the reader transformed into the early figs of one to pass the only and precisely, where every topic is based on the alpha and the omega of the story, said otherwise, the author exhausts the descriptive capacity put to the service of the comprehension and the pleasure of the reading, with a warm, accessible and fluid language, where the only possible embellishment is the imagination of the reader who has between its hands a copy of Small words.

                                                                      Liliana Cristina García

                                                                     Poet and Argentine Writer

 Also I have found in the web a comment of Beatriz Giovanna Ramírez in:

http://beatrizgiovannaramirez.blogspot.com/2010/01/pequenas-palabras-salvador-robles-miras.html

If the words are seeds, embryos of meaning, bearers of origin and of future plants. It will be necessary to sow them so that they germinate and grow. The words are simple, compound, derivative and parasintéticas. The words are sharp, flat, serious, proparoxytone, sobreesdrújulas. The words are monosyllabic, dissyllabic, trisyllabic, polysyllabic. The words have force, presence and accents, The words are deciphered, are chased and are discovered. The words are a language. The words open the doors or close them. The words always look for lips to kiss and to be liberated. The words are big. The words are medium-sized. The words are small. The words bring us over or remove us forever. The words make love to the ears, to the air where they travel and disappear, forget or are remembered forever. They like playing the words and making laugh. There are words that are thrown like knives and make to hurt. There are words that they caress and console. There are words that they embrace and stimulate. There are words that recover and disarm. There are words of that they win the love and that dance. There are so many words to do a daily posy and to give it to the life, to the hope, to the love, to the family. There is Kidlings Palabras, of Salvador Robles that they must never forget. Las palabras son simples, compuestas, derivadas y parasintéticas. Las palabras son agudas, llanas, graves, esdrújulas, sobreesdrújulas. Las palabras son monosílabas, bisílabas, trisílabas, polisílabas. Las palabras tienen fuerza, presencia y acentos, Las palabras se descifran, se persiguen y se descubren. Las palabras son lenguaje. Las palabras abren las puertas o las cierran. Las palabras siempre buscan labios para besar y liberarse. Las palabras son grandes. Las palabras son medianas. Las palabras son pequeñas. Las palabras nos acercan o nos alejan para siempre. Las palabras hacen el amor a los oídos, al aire por donde viajan y desaparecen, se olvidan o se recuerdan para siempre. A las palabras les gusta jugar y hacer reír. Hay palabras que se lanzan como cuchillos y hacen doler. Hay palabras que acarician y consuelan. Hay palabras que abrazan y estimulan. Hay palabras que sanan y desarman. Hay palabras que enamoran y que danzan. Hay tantas palabras para hacer un ramillete diario y regalarlo a la vida, a la esperanza, al amor, a la familia. Hay Pequeñas Palabras, de Salvador Robles que jamás se deben olvidar.

 Reading redemption

The book of the Library took with the intention of returning it, but, when he read it for the first time, the temptation winked the eye. It was impressed by the history that he had read. After another two readings, more enriching even that the first one, took the decision to remain with the book and to give him all the readings that were deserved. And it was not important for Mrs Ética. Después de otras dos lecturas, más enriquecedoras incluso que la primera, tomó la decisión de quedarse con el libro y regalarle todas las lecturas que se merecía. Y a Doña Ética no le importó.

 In Publishing Parentheses you it can encontar:

http://www.parentesiseditorial.com/PEQUENAS-PALABRAS-isbn-9788499190617.html

Luisjo

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 Possibly, today we can contemplate this exhibition thanks to the unpayable work of those who manage the program of the Foundation Mapfre. The efforts that have had to do, insurance, which they are immense. Many museums and prestigious rooms will have disputed the works that today here we can contemplate. The works have gone out of Paris why the Museum of Orsay has tackled a renewal of its rooms and has had to relocate its funds on having closed the plant 5. Muchos museos y prestigiosas salas se habrán disputado las obras que hoy aquí podemos contemplar. Las obras han salido de París por que el Museo de Orsay ha emprendido una renovación de sus salas y ha tenido que reubicar su fondos al cerrar la planta 5.

But if we go back a little in the time to who we should thank it is to Gustave Caillebotte. He was a painter and friend of the impressionists and he was for them an authentic patron since he was buying to them its works when nobody trusted in them. To its death it donated the works to the French state and Renoir was in charge of making come this legacy. It had many problems so that they were accepting its legacy. A su muerte donó las obras al estado francés y Renoir se encargó de hacer llegar ese legado. Tuvo muchos problemas para que aceptaran su legado.

 Let's see a brief Cailllebote portrait.

One of the most unknown impressionistic artists was Gustave Caillebotte. For many years its works happened unnoticed and the criticism did not bear him in mind.

But its role inside the group was fundamental. It was the one that more contributed to the impressionistic phenomenon ahead of some of the big teachers. Its pictorial work was the most important although perhaps not at the same level as Monet, Renoir or Cezanne but its economic situation and social position allowed him to be a patron in those moments in which the desperation was taking possession of the painters on having seen that its paintings were not reaching the due recognition and nobody was buying them. He died young and donated an important paintings collection to the French state. Su obra pictórica fue importantísima aunque quizás no al mismo nivel que Monet, Renoir o Cézanne pero su situación económica y posición social le permitió ejercer de mecenas en aquellos momentos en que la desesperación se adueñaba de los pintores al ver que sus pinturas no alcanzaban el reconocimiento debido y nadie las compraba. Murió joven y donó una importante colección de pinturas al estado francés.

He is born in Paris on August 19, 1848 in the bosom of a family of upper class. Its father inherited a familiar business of military pledges, also he was a judge of the Court of Commerce. From 1860 during the summers it begins frequenting the city of Yerres, located to few kilometers of the south of Paris and it is there where, possibly, in this epoch it began doing and drawing. A partir de 1860 durante los veranos empieza a frecuentar la ciudad de Yerres, ubicada a pocos kilómetros del sur de París y es allí donde, posiblemente, en esta época empezó a pintar y a dibujar.

In 1868 he graduated in right and two years later he happened to exercise the jurisprudence. And later also he graduated in marine engineering. It was enlisted in the French army owing to the franco-Prussian War. Fue alistado en el ejército francés con motivo de la Guerra franco-prusiana.

At the end of the war it joined the workshop of the academic painter León Bonnat where it began in a serious way in the study of the painting. In 1873 it approved the entrance examination of the School of Fine arts in to which it did not remain in a lot of time. In 1874 its father dies. Four years later its mother would die inheriting a considerable fortune. But we fly a year 1874. It is in this year when capture contacted with the impressionistic painters who were lodged in the academy of French art. Degas stands out between them and Of Nittis. In the same year it comes like onlooker to the first impressionistic exhibition to take part in the second celebrated in 1876. It presented eight works between which he emphasized The teases of parquet (They raboteurs of parquet – to see comment of the picture). En 1874 fallece su padre. Cuatro años más tarde fallecería su madre heredando una fortuna considerable. Pero volamos al año 1874. Es en este año cuando toma contacto con los pintores impresionistas que estaban alojados en la academia de arte francesa. Destacan entre ellos Degas y De Nittis. En este mismo año acude como curioso a la primera exposición impresionista para participar en la segunda celebrada en 1876. Presentó ocho obras entre las que destacó Los acuchilladores de parqué (Les raboteurs de parquet –ver comentario del cuadro).

The Caillebote style is framed inside the called pictorial realism of which they were precursors Jean-Francoise Millet y Gustace Courbet. Its work is hard influenced by its impressionistic companions who were straining in painting the such reality which exists in the reality. It was taking given of each one its style and skill but without becoming attached to any style in particular. Sometimes it is Degas which more it is alike capturing in its works a realism with a wide colors wealth. In others of its these works they acquire a palette of colors pastries and free strokes similar to those of Renoir and Pisarro. Tomaba prestado de cada uno su estilo y técnica pero sin apegarse a ningún estilo en particular. En ocasiones es Degas al que más se asemeja plasmando en sus obras un realismo con una amplia riqueza de colores. En otras de sus obras estas adquieren una paleta de colores pasteles y pinceladas sueltas semejantes a las de Renoir y Pisarro.

The Bridge of Europe (1876, Geneva, Museé du Petit-Palais) and, especially, Paris, time of rain (1877, The Art Institute of Chicago) they maintain the characteristics of the previous painting, and turn the Paris of Haussmann into the favorite stage of the personalísimas Caillebotte perspectives.

From the following year, Caillebotte begins to move away from the serious and cold style of the Lounge to create its own style entirely impressionistic.

The decade of 1880 the Caillebotte career gives a radical draft on having moved to a house opposite to Argenteuil, on the banks of the Seine, where its love begins for the sailing ships and the ditches.

The works of this period are characterized by a moderation in the perspectives, less forced that in most of urban paintings of Paris, although it continues with the unusual compositions, already it is for strange points of view or for being in appearance arbitrarily cut. The beautiful images of sailing ships that Caillebotte paints have a clear influence in those that Monet was representing a few years earlier.

Gustave Caillebotte died 45 years in Gennevilliers on February 21, 1894. It is buried in the cemetery of Pére Lachaise of Paris. Caillebotte donated its works to the State. Its executrix, Renoir, met big difficulties of making to fulfill the desire of its friend, and sometimes commercially, of delivering the paintings collection to the State. It seemed inconceivable to the persons in charge of the cultural policy to present in a museum the impressionistic pictures, which in that epoch were, still, pushed back on a big part of the public. Caillebotte donó sus obras al Estado. Su albacea, Renoir, se encontró con grandes dificultades para hacer cumplir el deseo de su amigo, y en ocasiones marchante, de entregar la colección de pinturas al Estado. A los responsables de la política cultural les pareció inconcebible presentar en un museo los cuadros impresionistas, que en aquella época eran, todavía, rechazados por una gran parte del público.

They raboteurs of parquet, 1875

Oil on cloth, 102 x 146,5 cm.

Musée d'Orsay, Paris.
Nº inv.: RF 2718
(C) RMN (Musée d'Orsay)

The central topic of the painting is the representation of a few workers preparing the wooden apartment. The criticism considered it to be vulgar and, probably, this was the reason for which the work was pushed back by the judges of the Lounge of 1875. In that epoch, the art academy was considering to be acceptable the representation of rustic peasants or farmers as the admissible subject-matter on topics regarding the working class. This picture constitutes one of the first representations of the urban proletarian. En aquella época, la academia de arte consideraba aceptable la representación de campesinos rústicos o granjeros como la temática admisible sobre tópicos referentes a la clase obrera. Este cuadro constituye una de las primeras representaciones del proletario urbano.

Unlike Courbet or Millet, Caillebotte introduces no social speech neither in its work, nor nor moralizer either politician. simply its work is a documentary study (gestures, hardware, accessories) that places it between the artist of the realism more experienced.

Caillebotte shows to three kneeled down workers, with the naked torso, on the parquet of an empty room. They predominate over the tones beiges - marrones-negros.

The light that enters the door of the balcony of the fund produces a grand back light effect: it falls down on the backs and arms of the workpeople. The perspective is accentuated by the effect of stung and by the alignment (the diagonals) of the parquet stage. A few streaks are dark for the varnish that they confirm with other egg whites that have been brushed. It is a question of a study of the rhythmic movements, comparable to the ballet dancers of ballet or the racers of Edgar Degas. La perspectiva se acentúa por el efecto de picado y por la alineación (las diagonales) del las tablas de parquet. Unas rayas son oscuras por el barniz que contrastan con las otras claras que han sido cepilladas. Se trata de un estudio de los movimientos rítmicos, comparables a las bailarines de ballet o los caballos de carreras de Edgar Degas.

The painter drew one for one the parts of the picture before capturing them in the linen. The anatomy of the workpeople remembers that of the gods of the classic painting.

One of the innovations of the impressionists, that the realists had already pointed, was to spoil the conventions with regard to the considered topics adapted for a painting: opposite to the preference to the historical and mythological topics own of the academic art, the impressionists aspire to reflect the contemporary forms of life, the new ways of living and the new figures of a society in an intensive modernization process.

It is necessary to point out that inside the subject-matter of the modern life, the manual work was not of the favorite topics of the impressionists. Only the proper Caillebotte and Degas

they treat with certain frequency (the last one in a magisterial way with its series of presses).

Now we have the opportunity to see in Spain not only the work of Gustave Caillebotte but that of many other artists that under the title Impressionism, a new Renaissance presents the Foundation Mapfre.

In its web we can consult the information of the exhibition as well as realize a virtual visit.

http://www.exposicionesmapfrearte.com/impresionismo/

The entry is free

Recluses' walk 23 – Madrid – 28004

Phone: 91 581 61 00

On Monday from 14.00 to 20.00 hrs.

From Tuesday until Saturday from 10.00 to 20.00 hrs.

On Sundays and festive from 11.00 to 19.00 hrs.

An extensive work published this article in Magazine Atticus 5 and in previous and later numbers on the Museum of Orsay.

Luisjo

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