DOI Artikel:
Wendorff, Anna: La cuestión plástica en las ilustraciones de Rosana Faría en la literatura infantil
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.52435#0140
136 ANNA WENDORFF
RODARI 1980 — G. Rodari, Za imaginación en la literatura infantil, “Perspecti-
va Escolar”, n.? 43, Marzo 1, 1980, pp. 40-50.
Sabana, Simón Díaz. Vol. LPS 66299. Tonadas. Caracas, Venezuela: Palacio,
1974.
VITE 2007 — E. Vite, Marcel Duchamp y el fin de las artes figurativas, “Es-
tudios”, Instituto Tecnológico Autónomo de México, n.* 82, Otoño
2007, pp. 19-66.
Summary
ARTISTIC ISSUES OF ROSANA FARÍA”S ILLUSTRATIONS
IN CHILDREN”S LITERATURE
In her article La ilustración en la literatura infantil |The illustration in chil-
dren's literature], a researcher, Ainara Erro, suggests that “illustrations can be
evaluated from different perspectives, since pictorial trends of different periods,
thought lines, theories of knowledge, etc. have been reflected in multiple illus-
trations in children's books.” Thus painting and/or artistic experience perceived
in the context of children’s literature involves not only the method of prepara-
tion connected with it or pictorial forms that it is inclined to. It also transforms
into a textual body, through which certain accumulations, condensations (ac-
cording to Todorov) and aesthetic profiles are manifested and created. In chil-
dren’s literature, games that may be introduced through plastic art are becoming
increasingly popular. In Rosana Faria's works, they constitute a double “cor-
related” element. A written text is not only a signifier, but it is transferred to
another dimension filled with expression forms, thanks to using the language as
“extrapolation” of the visual and for the visual. Pictorial art appears to be associ-
ated with not only what we see. For Faría, seeing color is not just a fact reflected
in the onlooker's eye, and an artistic text does not contain one and the only form
of transcending a western tendency of thinking, according to which painting
exists only when it is seen. Thus, we may wonder how to paint colors as if we
were blind, playing with other senses, tastes, smells, sounds or emotions. How
to illustrate for those who cannot see, and bring those who can see to the world
of the blind through images, or vice versa? How to discover colors without see-
ing them, using only a black color, how to make it unequivocal? Eventually, how
can we feel and perceive the world around us through a tactile image that would
be related to the nature? We will try to answer these questions through convex
illustrations created by Venezuelan artist, Rosana Faria, in a book by Menena
Cottin El libro negro de los colores [The Black Book of Colors]. It is interest-
ing how a well-known illustrator has found an appropriate style, an appropriate
visual language for this poetic work, how she has defined colors through other
RODARI 1980 — G. Rodari, Za imaginación en la literatura infantil, “Perspecti-
va Escolar”, n.? 43, Marzo 1, 1980, pp. 40-50.
Sabana, Simón Díaz. Vol. LPS 66299. Tonadas. Caracas, Venezuela: Palacio,
1974.
VITE 2007 — E. Vite, Marcel Duchamp y el fin de las artes figurativas, “Es-
tudios”, Instituto Tecnológico Autónomo de México, n.* 82, Otoño
2007, pp. 19-66.
Summary
ARTISTIC ISSUES OF ROSANA FARÍA”S ILLUSTRATIONS
IN CHILDREN”S LITERATURE
In her article La ilustración en la literatura infantil |The illustration in chil-
dren's literature], a researcher, Ainara Erro, suggests that “illustrations can be
evaluated from different perspectives, since pictorial trends of different periods,
thought lines, theories of knowledge, etc. have been reflected in multiple illus-
trations in children's books.” Thus painting and/or artistic experience perceived
in the context of children’s literature involves not only the method of prepara-
tion connected with it or pictorial forms that it is inclined to. It also transforms
into a textual body, through which certain accumulations, condensations (ac-
cording to Todorov) and aesthetic profiles are manifested and created. In chil-
dren’s literature, games that may be introduced through plastic art are becoming
increasingly popular. In Rosana Faria's works, they constitute a double “cor-
related” element. A written text is not only a signifier, but it is transferred to
another dimension filled with expression forms, thanks to using the language as
“extrapolation” of the visual and for the visual. Pictorial art appears to be associ-
ated with not only what we see. For Faría, seeing color is not just a fact reflected
in the onlooker's eye, and an artistic text does not contain one and the only form
of transcending a western tendency of thinking, according to which painting
exists only when it is seen. Thus, we may wonder how to paint colors as if we
were blind, playing with other senses, tastes, smells, sounds or emotions. How
to illustrate for those who cannot see, and bring those who can see to the world
of the blind through images, or vice versa? How to discover colors without see-
ing them, using only a black color, how to make it unequivocal? Eventually, how
can we feel and perceive the world around us through a tactile image that would
be related to the nature? We will try to answer these questions through convex
illustrations created by Venezuelan artist, Rosana Faria, in a book by Menena
Cottin El libro negro de los colores [The Black Book of Colors]. It is interest-
ing how a well-known illustrator has found an appropriate style, an appropriate
visual language for this poetic work, how she has defined colors through other