{"id":101869,"date":"2018-03-11T10:23:52","date_gmt":"2018-03-11T10:23:52","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/descripcion-y-convencion-en-el-paisaje-prefotografico-la-camara-oscura-en-la-obra-de-mariano-sanchez\/"},"modified":"2018-03-11T10:23:52","modified_gmt":"2018-03-11T10:23:52","slug":"descripcion-y-convencion-en-el-paisaje-prefotografico-la-camara-oscura-en-la-obra-de-mariano-sanchez","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/teoria-analisis-y-critica-de-las-bellas-artes\/descripcion-y-convencion-en-el-paisaje-prefotografico-la-camara-oscura-en-la-obra-de-mariano-sanchez\/","title":{"rendered":"Descripci\u00f3n y convenci\u00f3n en el paisaje prefotogr\u00e1fico. la c\u00e1mara oscura en la obra de mariano s\u00e1nchez"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Iv\u00e1n Albalate Gauch\u00eda <\/strong><\/h2>\n<p>El objeto de estudio de la tesis es la obra pict\u00f3rica del pintor espa\u00f1ol mariano s\u00e1nchez (1740-1822), en concreto el encargo realizado por el monarca carlos iv de pintar los puertos espa\u00f1oles que realiz\u00f3 el artista a partir de 1781 y hasta 1802. Se analizan los paisajes para desvelar qu\u00e9 elementos utilizados responden a convenciones propias de la tradici\u00f3n pict\u00f3rica y cu\u00e1les a intereses descriptivos propios del \u00e1mbito cient\u00edfico. Para ello se reconstruye el procedimiento pict\u00f3rico de mariano s\u00e1nchez y el uso determinante de la c\u00e1mara oscura en dicho proceso.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Descripci\u00f3n y convenci\u00f3n en el paisaje prefotogr\u00e1fico. la c\u00e1mara oscura en la obra de mariano s\u00e1nchez<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Descripci\u00f3n y convenci\u00f3n en el paisaje prefotogr\u00e1fico. la c\u00e1mara oscura en la obra de mariano s\u00e1nchez <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Iv\u00e1n Albalate Gauch\u00eda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Miguel hern\u00e1ndez de elche<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 21\/06\/2010<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Jos\u00e9 Vicente Martin Martinez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: rom\u00ed\u00a0 De la calle de la calle <\/li>\n<li>pilar Blanco altozano (vocal)<\/li>\n<li>Jes\u00fas Melendez arranz (vocal)<\/li>\n<li>Javier Navarro de zuvillaga (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Iv\u00e1n Albalate Gauch\u00eda El objeto de estudio de la tesis es la obra pict\u00f3rica del pintor espa\u00f1ol [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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