La pintura del mar: Conceptos generales, sensación de infinitud y relaciones con la pintura valenciana de la segunda mitad del siglo XIX.

The present work addresses marine painting and the general concepts underlying it. It sets out to demonstrate how the image of the sea as a phenomenological path, and the components that define its aesthetic materiality, can represent the feeling of infinity that the image evokes, starting from the consideration that the idea of infinity is written into the image of the sea as a reality. We were guided in our interpretation by the methodology of the imaginary by Gilbert Durand and the phenomenology of Gaston Bachelard and Merleau-Ponty in order to demonstrate that the sea, as image, is not only based on its reality, but it can also relate to different values which subjectivize its figure, giving it potential as a figure. On these principles we have constructed the various proposals analysed in this work. The work is structured in three parts and is based on the field of metaphysics. In the first part we determined the values and relationships that confer aesthetic personality to the sea and that are identified through color, motion and sound, extrapolating its infinity as an independent concept that is the object of individual study in the second part. Set in the context of XIX century European painting, its interpretation is based on the intersection of two ontologically opposed axes that determine the dynamics of its idea: Its horizontality, seen from its unlimitedness and from the cyclical perspective of its temporality, that has the image of the journey and of the ship as interpretation keys; And its verticality, perceived from the notion of depth and interpreted from the bidirectionality of its concept, which revealed to us the experience of the immanent and existential transcendence of the sea through the representation of the shipwreck. This suggestion guided us in the last part towards an interpretation of the feeling of the infinity of the sea in the Valencian painting of the second half of the XIX century, establishing the values and the means of representation used in understanding it, keeping as representatives the pure marine painters headed firstly by Rafael Monle´on, Javier Juste, Salvador Abril, Enrique Saborit, Benito Lleonart and Pedro Ferrer, and secondly by Ignacio Pinazo, Joaqu´ýn Sorolla and Munoz Degra´ýn . As a result of our analysis, we state that the sea, as a paradoxical and contradictory figure, creates the expression of its infinity from different perspectives. We demonstrated that the purpose of the selected artists was not only to modify the reality of the sea image relying on the imagination to capture the feeling of infinity that it suggests, but also to pursue the meaning of its existence through its own concepts and values.