En 1954 se inaugura una gran retrospectiva en Nueva York sobre la obra de Lipchitz. Juan Larrea ve la celebración de esta exposición como un momento oportuno para dar a conocer sus ideas sobre teleología de la cultura por medio de su Carta abierta a Jacques Lipchitz. En opinión del poeta, la obra de su amigo atesoraba una cualidad profética —como la suya propia— dado que no se conformaba con representar la realidad, sino que aspiraba a revelar una más elevada y transparente. Este texto presenta los motivos por los que Larrea consideraba la obra de Lipchitz profética y reveladora de los nuevos tiempos, al tiempo que expone la propia consideración de Lipchitz al respecto. El propósito de estas páginas es presentar el modo en que Larrea se apropia de la significación de la obra del escultor y la incorpora a su particular interpretación cultural. No dejaremos de poner en rela...

In 1954 took place in New York the first great retrospective of Jacques Lipchitz. For Juan Larrea was a perfect moment to expose his personal teleology of culture. The Open Letter to Jacques Lipchitz is the text through which Juan Larrea reveals his discoveries on the meaning of the contemporary art. According to Larrea, Lipchitz is —as himself— a prophet of the new times: his sculpture does not represent a second reality, but it reveals a higher, transparent one. The main goal is to present how Larrea took the meaning of Lipchitz’s sculpture and added it to his own worldview. In addition, this paper links all these aspects with the idea of palingenesis. This last constitutes, in Roger Griffin’s opinion, an axial point to understand the aesthetics in the first half of the twentieth century. Finally, we underline that in spite of Lipchitz —as well as Picasso— is the most outst...

In 1954 took place in New York the first great retrospective of Jacques Lipchitz. For Juan Larrea was a perfect moment to expose his personal teleology of culture. The Open Letter to Jacques Lipchitz is the text through which Juan Larrea reveals his discoveries on the meaning of the contemporary art. According to Larrea, Lipchitz is —as himself— a prophet of the new times: his sculpture does not represent a second reality, but it reveals a higher, transparent one. The main goal is to present how Larrea took the meaning of Lipchitz’s sculpture and added it to his own worldview. In addition, this paper links all these aspects with the idea of palingenesis. This last constitutes, in Roger Griffin’s opinion, an axial point to understand the aesthetics in the first half of the twentieth century. Finally, we underline that in spite of Lipchitz —as well as Picasso— is the most outst...