{"id":108706,"date":"2018-03-11T10:33:41","date_gmt":"2018-03-11T10:33:41","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-pintura-renacentista-de-lorenzo-de-avila\/"},"modified":"2018-03-11T10:33:41","modified_gmt":"2018-03-11T10:33:41","slug":"la-pintura-renacentista-de-lorenzo-de-avila","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-del-arte\/la-pintura-renacentista-de-lorenzo-de-avila\/","title":{"rendered":"La pintura renacentista de lorenzo de \u00e1vila"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Juan  Carlos Pascual De Cruz <\/strong><\/h2>\n<p>Lorenzo de \u00e1vila (hacia 1473 ; toro, 1570) ya era pintor en toledo en 1507, cuando compuso unos dibujos para la manga del corpus del cardenal cisneros. En la catedral de le\u00f3n pint\u00f3 en 1521 un mural en el claustro y una tabla para el trascoro. Tuvo como disc\u00edpulo y colaborador al pintor flamenco juan de borgo\u00f1a de toro, muerto en ciudad rodrigo en 1565. Un hijo de lorenzo, hernando de \u00e1vila (toro, 1538 ; Madrid, 1595), fue pintor de la catedral de toledo y de felipe ii.          la trayectoria de lorenzo de \u00e1vila incluye cerca de un centenar de creaciones documentadas y conservadas, entre las que cabe destacar las del retablo mayor de santo tom\u00e1s cantuariense de toro, de hacia 1546. Otras tantas se le pueden  atribuir, entre ellas las del retablo mayor de belver de los montes y los coincidentes dibujos del terno negro de la emperatriz isabel de portugal en la capilla real de granada. Especial relevancia tendr\u00edan, si se confirmaran, las hipot\u00e9ticas intervenciones de lorenzo en italia hacia 1500 o en lo que se puede considerar estilo a de juan de borgo\u00f1a de toledo en los a\u00f1os anteriores a 1515. Lo mismo puede decirse de un retrato de carlos v del palacio real de la almudaina en palma de mallorca, del que seguramente derivan las versiones de seisenegger y tiziano. M\u00e1s all\u00e1 de la relaci\u00f3n con el pleno renacimiento en italia, en el estilo de lorenzo de \u00e1vila sobresalen el extraordinario dibujo, el inter\u00e9s en el juego de contrarios, la coherencia, la contenci\u00f3n y el equilibrio, propios de un autor reflexivo, elegante, sincero, atrevido, vitalista y bienhumorado, que nos permite pasear por el interior de las composiciones, siempre abiertas e insuperablemente inacabadas, en lo que se perciben ecos de su principal predecesor, pedro berruguete, a la vez que se anticipan detalles del singular car\u00e1cter de vel\u00e1zquez, goya o picasso. Visto as\u00ed, lorenzo de \u00e1vila no s\u00f3lo habr\u00eda sido uno de los principales pintores espa\u00f1oles del renacimiento, sino que tendr\u00eda un puesto bien merecido entre los principales pintores de todos los tiempos.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La pintura renacentista de lorenzo de \u00e1vila<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La pintura renacentista de lorenzo de \u00e1vila <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Juan  Carlos Pascual De Cruz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 26\/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>Margarita Ruiz Maldonado<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: mat\u00edas D\u00edaz padr\u00f3n <\/li>\n<li>Ana Castro santamar\u00eda (vocal)<\/li>\n<li>Francisco De la plaza Santiago (vocal)<\/li>\n<li>clementina julia Ara gil (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Juan Carlos Pascual De Cruz Lorenzo de \u00e1vila (hacia 1473 ; toro, 1570) ya era pintor en [&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":[1014,9386],"tags":[9477,27828,149437,217770,34924,5968],"class_list":["post-108706","post","type-post","status-publish","format-standard","hentry","category-historia-del-arte","category-salamanca","tag-ana-castro-santamaria","tag-clementina-julia-ara-gil","tag-francisco-de-la-plaza-santiago","tag-juan-carlos-pascual-de-cruz","tag-margarita-ruiz-maldonado","tag-matias-diaz-padron"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/108706","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=108706"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/108706\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=108706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=108706"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=108706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}