La semiótica plástica de Algirdas Julien Greimas aplicada a la obra bidimensional «La danza Barnes» (1932-1933) de Henri Matisse

Abstract

Semiotics is not an act of reading; it is an attitude of exploration of what lies at the heart of all signification, its roots and the machinery that sustains it. The plastic semiotics of Algirdas Julien Greimas is one of the soft technologies that can be explored to protect against the exhaustion of the resources of artistic practices. A.J. Greimas' founding article, «Figurative semiotics and plastic semiotics», is the basis of this work, which sets out in detail how the plane of expression and its corresponding articulation of the plane of content are articulated in a two-dimensional work. The artist Henri Matisse analysed, reflected and rationalised on art through his pictorial practice, his way of working was similar to that of a semiologist, which is why this genius of art has been chosen to put into practice the theory of the semiologist Greimas, his work «The Barnes dance» (1932-1933), is key in his artistic trajectory. With this analysis we put Greimas' theory of the generative semiotics of plastic language into practice in order to understand how it works, experiment with it and become capable of using it in an empowered way.