{"id":108616,"date":"2018-03-11T10:33:30","date_gmt":"2018-03-11T10:33:30","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/pablo-serrano-una-nueva-figuracion-un-nuevo-humanismo\/"},"modified":"2018-03-11T10:33:30","modified_gmt":"2018-03-11T10:33:30","slug":"pablo-serrano-una-nueva-figuracion-un-nuevo-humanismo","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-del-arte-de-los-siglos-xix-y-xx\/pablo-serrano-una-nueva-figuracion-un-nuevo-humanismo\/","title":{"rendered":"Pablo serrano. una nueva figuraci\u00f3n. un nuevo humanismo"},"content":{"rendered":"<h2>Tesis doctoral de <strong> M. Carmen Rodr\u00edguez  Berbel <\/strong><\/h2>\n<p>Estudio del contexto hist\u00f3rico y de la obra escult\u00f3rica del artista pablo serrano (1908-1985).  en esta tesis se dan a conocer las ideas que pablo serrano expres\u00f3 en sus cartas sobre el arte de su tiempo, y la manera que \u00e9l mismo ten\u00eda de trabajar sobre la obra antes de iniciarla: c\u00f3mo se documentaba, qu\u00e9 pensaba de las personas a las que retrataba, qu\u00e9 valores filos\u00f3fico-human\u00edsticos le interesaba trasmitir y, en consecuencia, qu\u00e9 lenguaje pl\u00e1stico utilizaba en cada escultura. Se presenta conjuntamente el an\u00e1lisis de la forma empleada en cada escultura y el mensaje que su autor quiso que la misma trasmitiera. Tras una s\u00edntesis de la \u00e9poca en la que vivi\u00f3 y trabaj\u00f3, se estudian sus obras escult\u00f3ricas siguiendo el criterio estil\u00edstico, es decir, el lenguaje pl\u00e1stico utilizado por el escultor: figurativo-expresionista y abstracto. Dentro de cada estilo se ha hecho una agrupaci\u00f3n tem\u00e1tica: en el figurativo-expresionista: interpretaciones al retrato, monumentos p\u00fablicos y obras religiosas. En el abstracto se estudian sus series: ordenaci\u00f3n del caos o hierros (serie experimental siguiendo el lenguaje pl\u00e1stico del informalismo), ritmos en el espacio (esculturas colgantes, en materiales ligeros: aluminio, alambre, que acotan el espacio), b\u00f3vedas para el hombre, hombres con puerta, lum\u00ednicas, unidades-yunta, el pan, toros, los fajaditos, entretenimientos en el prado, divertimentos con picasso, la guitarra y el cubismo, y, finalmente, sus obras m\u00faltiples. Se a\u00f1ade un breve comentario de los escritos te\u00f3ricos del escultor. se completa la tesis con un apartado dedicado a bibliograf\u00eda y otro a cat\u00e1logo de documentos y obras.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Pablo serrano. una nueva figuraci\u00f3n. un nuevo humanismo<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Pablo serrano. una nueva figuraci\u00f3n. un nuevo humanismo <\/li>\n<li><strong>Autor:<\/strong>\u00a0 M. Carmen Rodr\u00edguez  Berbel <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Zaragoza<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 23\/05\/2011<\/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 Luis Pano Gracia<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: gonzalo Borras gualis <\/li>\n<li>pablo Ram\u00edrez p\u00e9rez (vocal)<\/li>\n<li>moises Bazan de huerta (vocal)<\/li>\n<li>Mar\u00eda  soledad Alvarez Martinez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de M. Carmen Rodr\u00edguez Berbel Estudio del contexto hist\u00f3rico y de la obra escult\u00f3rica del artista pablo serrano [&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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[4363,2563,13610],"tags":[5824,191723,217641,8860,141210,41172],"class_list":["post-108616","post","type-post","status-publish","format-standard","hentry","category-escultura","category-historia-del-arte-de-los-siglos-xix-y-xx","category-zaragoza","tag-gonzalo-borras-gualis","tag-jose-luis-pano-gracia","tag-m-carmen-rodriguez-berbel","tag-maria-soledad-alvarez-Martinez","tag-moises-bazan-de-huerta","tag-pablo-ramirez-perez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/108616","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=108616"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/108616\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=108616"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=108616"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=108616"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}