{"id":113795,"date":"2013-05-02T00:00:00","date_gmt":"2013-05-02T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-otra-pintura-el-simulacro-pictorico-su-industria-y-sus-relaciones-convivencias-con-la-creacion-plastica-contemporanea-1950-2010\/"},"modified":"2013-05-02T00:00:00","modified_gmt":"2013-05-02T00:00:00","slug":"la-otra-pintura-el-simulacro-pictorico-su-industria-y-sus-relaciones-convivencias-con-la-creacion-plastica-contemporanea-1950-2010","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/pintura\/la-otra-pintura-el-simulacro-pictorico-su-industria-y-sus-relaciones-convivencias-con-la-creacion-plastica-contemporanea-1950-2010\/","title":{"rendered":"La otra pintura. el simulacro pictorico, su industria y sus relaciones-convivencias con la creacion pl\u00e1stica contempor\u00e1nea (1950-2010)"},"content":{"rendered":"

Tesis doctoral de Rafael Calbo Such <\/strong><\/h2>\n

Resumen de la tesis doctoral la otra pintura el simulacro pict\u00f3rico, su industria y sus relaciones-convivencias con la creaci\u00f3n pl\u00e1stica contempor\u00e1nea (1950 – 2010). rafael calbo such director: dr. Jos\u00e9 mayor iborra universidad de murcia facultad de bellas artes 2012 1. Objetivos generales y espec\u00edficos objetivos generales: – realizar una investigaci\u00f3n rigurosa sobre la pintura denominada comercial nacida en las comarcas alicantinas de l'alcoi\u00ed\u00a0 y el comtat pertenecientes a la comunidad Valenciana. – organizar las ideas, recopilar datos, conseguir fuentes de informaci\u00f3n sobre el nacimiento, desarrollo y declive de la industria y el comercio "art\u00edstico" surgido en la d\u00e9cada de los cincuenta del siglo pasado. – reflexionar sobre la condici\u00f3n de cultura popular y de masas de este comercio art\u00edstico-decorativo. – establecer las relaciones-convivencias de esta producci\u00f3n pict\u00f3rica comercial con la creaci\u00f3n pl\u00e1stica contempor\u00e1nea de los \u00faltimos a\u00f1os. objetivos espec\u00edficos: – establecer un orden cronol\u00f3gico de los hechos que se investigan para poder realizar el estudio hist\u00f3rico de la extensa producci\u00f3n pict\u00f3rica comercial. – presentar de forma breve y somera las causas socio-econ\u00f3micas y culturales que propiciaron la aparici\u00f3n de esta peculiar pr\u00e1ctica pict\u00f3rica y su comercio. – estudiar los procesos de fabricaci\u00f3n y producci\u00f3n del producto pict\u00f3rico industrial, desde el inicio (el bastidor) hasta el acabado final (el marco). – verificar, desde nuestra posici\u00f3n de artistas pl\u00e1sticos, un acercamiento anal\u00edtico de la evoluci\u00f3n estil\u00edstica de la pr\u00e1ctica pict\u00f3rica comercial a lo largo de su trayectoria. – reflexionar sobre una ingente producci\u00f3n pict\u00f3rica que se ha mantenido durante muchos a\u00f1os y sobre la que no se ha estudiado suficientemente desde las bellas artes, y espec\u00edficamente desde la pr\u00e1ctica art\u00edstica. – verificar las causas y factores del declive, que en estos \u00faltimos a\u00f1os ha venido padeciendo este tipo de industria que ha ofrecido una forma de vida a un gran sector de la poblaci\u00f3n en la zona referida. – analizar las relaciones, interacciones, influencias, confluencias y divergencias de esta pr\u00e1ctica comercial, con una cultura visual de car\u00e1cter m\u00e1s elitista, es decir, con una producci\u00f3n pl\u00e1stica entendida como obra de arte. – comprobar como la desacralizaci\u00f3n del hecho art\u00edstico y el cuestionamiento de una "alta y baja cultura" han sido las constantes del arte de las \u00faltimas d\u00e9cadas. – evidenciar las convivencias-relaciones entre la pintura comercial y el arte denominado posmoderno, verific\u00e1ndolas con una serie de obras y artistas representativos. – constatar las conexiones de la cultura visual popular con una serie de crea- dores y creaciones de la pintura Valenciana contempor\u00e1nea en los \u00faltimos a\u00f1os. 2.\t Metodolog\u00eda la metodolog\u00eda ha estado determinada por las caracter\u00edsticas propias de la investigaci\u00f3n planificando su estructura en dos partes diferenciadas para una mejor claridad del planteamiento. en la primera parte se ha considerado necesario confeccionar una agenda para ordenar unas entrevistas con los protagonistas implicados en esta actividad (empresarios, comerciales, fabricantes, pintores\u00c2\u00bf) de la zona de estudio que pod\u00edan aportar informaci\u00f3n objetiva sobre el nacimiento y desarrollo de este comercio, as\u00ed como un acercamiento a las distintas actividades surgidas alrededor de la producci\u00f3n pict\u00f3rica. Al tratarse de entrevistas directas la precisi\u00f3n en algunos datos pod\u00eda no ser del todo exacta, por tanto, ha sido indispensable realizar un an\u00e1lisis comparativo de las entrevistas, con el objetivo de establecer una cronolog\u00eda y una descripci\u00f3n clara de los hechos. En esta misma l\u00ednea, ha surgido la necesidad de una contextualizaci\u00f3n socioecon\u00f3mica y cultural de las comarcas que se han a analizado. Para ello, ha sido importante realizar consultas bibliogr\u00e1ficas sobre estudios de campo realizados a modo de recopilaci\u00f3n de datos socioecon\u00f3micos muy \u00fatiles para contextualizar y situar el tema dentro del \u00e1mbito industrial y econ\u00f3mico tanto -y sobre todo- de las comarcas alicantinas de l'alcoi\u00ed\u00a0 y el comtat, como del territorio nacional. por otro lado, ha sido conveniente realizar un estudio pormenorizado de los procesos de fabricaci\u00f3n y producci\u00f3n del producto pict\u00f3rico comercial, desde sus inicios al acabado final, que han resultado ser esclarecedores de las particularidades de esta manufactura artesanal adaptada a los procesos de una producci\u00f3n industrial. tambi\u00e9n se ha considerado conveniente realizar un an\u00e1lisis de las convergencias y divergencias con la pr\u00e1ctica en la holanda del siglo xvii como hecho paradigm\u00e1tico. Se ha tratado de llegar a un mayor calado sociol\u00f3gico de las razones que inducen a un determinado grupo social a adquirir este tipo de obras comerciales, observando los antecedentes hist\u00f3ricos, con sus similitudes y diferencias, que han aportado luz a un fen\u00f3meno muy particular y poco estudiado como es el de la pintura comercial. la segunda parte ha estado determinada por la observaci\u00f3n de la coexistencia de la pintura comercial con el arte contempor\u00e1neo. Se ha pretendido realizar un an\u00e1lisis comparativo desde la observaci\u00f3n de las relaciones y convivencias de la pintura comercial con la creaci\u00f3n pl\u00e1stica contempor\u00e1nea entendida como obra de arte. Para una mejor comprensi\u00f3n y estructuraci\u00f3n de este an\u00e1lisis comparativo ha sido necesario definir el concepto de iron\u00eda en el contexto de las artes pl\u00e1sticas con sus formas y modalidades m\u00e1s extendidas: kitsch, fe\u00edsmo, repetici\u00f3n-serialidad, y provocaci\u00f3n. Es decir, un repaso por los conceptos propios de gran parte del arte contempor\u00e1neo. por \u00faltimo se han relacionado una serie de artistas-pintores Valencianos atendiendo b\u00e1sicamente a dos criterios de selecci\u00f3n: 1\u00c2\u00b7artistas con un recorrido iniciado en la d\u00e9cada de los sesenta y en cuyo trabajo creativo se realizan alusiones cr\u00edticas e ir\u00f3nicas a la cultura popular y de masas con tem\u00e1ticas de denuncia social y pol\u00edtica, y en ciertos momentos con formas de producci\u00f3n seriada. 2\u00c2\u00b7una producci\u00f3n realizada por pintores Valencianos m\u00e1s j\u00f3venes que inician sus carreras art\u00edsticas en los a\u00f1os ochenta y noventa, con relaciones con la cultura visual popular a la que, con toda evidencia, ha contribuido la producci\u00f3n pict\u00f3rica comercial que ha sido objeto de estudio en este trabajo. una selecci\u00f3n que ha servido, precisamente, para observar las convergencias, divergencias, relaciones y convivencias de la producci\u00f3n pict\u00f3rica comercial con una pintura de car\u00e1cter m\u00e1s elitista, pero que ha venido cuestionando estas categor\u00edas tradicionales de "culturas altas y bajas". 3. Conclusiones – se contemplan claramente cuatro periodos en el nacimiento y evoluci\u00f3n del comercio pict\u00f3rico: a. Un primer periodo de un comercio incipiente, denominado aqu\u00ed proto-comercio que se extiende desde 1950 hasta 1962. b. Un segundo, de consolidaci\u00f3n que se extiende desde 1962 hasta 1980, en el que este comercio alcanza su mayor\u00eda de edad. c. Un tercero, de expansi\u00f3n en el se produce una diversificaci\u00f3n y crecimiento, desde 1980 hasta el 2003. d. Un cuarto y \u00faltimo, de declive en el que se produce una clara y acusada curva descendente en el nivel de producci\u00f3n y ventas, desde el 2003 hasta nuestros d\u00edas. – el contexto geogr\u00e1fico y econ\u00f3mico de una zona de tradici\u00f3n industrial y emprendedora con un esp\u00edritu comerciante, determina el enfoque que se le da a una actividad calificada, en principio, de art\u00edstica y que se desarrolla como un simulacro pict\u00f3rico, entendido \u00e9ste como una forma de imitaci\u00f3n de modelos y estilos con adecuaci\u00f3n a los gustos decorativos de cada periodo. – la producci\u00f3n de los \u00fatiles, soportes y complementos pict\u00f3ricos se industrializan, aunque en muchos casos basados en las formas tradicionales adaptadas a procesos mecanizados e industriales. – las causas del declive se sit\u00faan en el cambio de gustos y estilos decorativos en los que el marco -complemento con el que la ganancia ha sido muy alta- desaparece. La importaci\u00f3n de productos provenientes de china con los que no se puede competir por su bajo precio inundan el mercado provocando un exceso de oferta sobre la demanda. – las analog\u00edas con la situaci\u00f3n art\u00edstica holandesa en el siglo xvii se pueden establecer en cuanto a las caracter\u00edsticas y efectos negativos del comercio de las obras art\u00edsticas, no en cuanto a la calidad y contemporaneidad de los temas, ya que la pintura holandesa del siglo xvii goza de un gran prestigio y no padece de los anacronismos de la tem\u00e1tica comercial. – se ha podido corroborar que han habido contactos alusivos directos por parte del arte posmoderno a la pintura comercial. Unas alusiones que se han producido desde el marco de la reflexi\u00f3n ir\u00f3nica con distintos recursos ret\u00f3ricos y estil\u00edsticos. – en el panorama Valenciano, las alusiones de la nueva figuraci\u00f3n Valenciana a la pintura comercial no han sido tan directas, pero se han observado convivencias y relaciones con la cultura popular, as\u00ed como, ciertas convergencias y divergencias con determinados aspectos de la pr\u00e1ctica comercial. title of the thesis: the other painting. Mock painting, its industry, contacts and coexistence with contemporary artistic creation (1950-2010). 1-general and specific objectives general objectives – carry out a rigorous research on the called commercial painting which was born in the alicante districts of l'alcoia and el contat inside the Valencian community. – organise ideas, collect data,obtain information sources about the formation, development and the fall of the "artistic" trade and industry which emerged during the 50s last century. – ponder on the masses popular cultural creation of this decorative artistic trade. – establish the relationship-coexistence of this commercial pictorial production with contemporay plastic creations of the latest years. specific objectives – establish a chronological order on the focus to research in order to carry out the historical study on the huge commercial pictorical production. – introduce, as briefly as possible, the socio-economic cultural causes which led to the appearance of this peculiar pictorial praxis and its trade. – study the processes of manufacturing and production of the industrial pictorial product, from the very beginning (the frame) to the complete ending (the painting frame). – verify, from our position as plastic artists,an analytical approach of the stylistic evolution of the commercial pictorial praxis throughout its trajectory. – ponder on a prodigious pictorial production which has been kept for so long and about which has not been studied sufficiently from fine arts, and specifically from the artistic practice. – verify the factors and the causes of the fall, which, during the latest years this type of industry has been suffering from, having offered a way of life to a large number of people in the stated area. – analyse the relationships, interactions, influences ,confluences and divergences of such commercial praxis with a more elitist nature visual culture,namely,with a plastic production understood like artwork. – check how the artistic fact demystification and the questioning of both "a high and a low culture" have been the art constants during the last decades. – prove the coexistence-relationship between commercial painting and the called postmodern art verifying them with a series of works and representative artists. – note the conexions of the popular usual culture with a series of creators and creations of the contemporay Valencian painting during the last years. 2-methodology the methodology has been determined by the proper research in the features being the estructure planned in two differentiated parts for a better clarity in the approach. in the first part it has been thought to create an agenda so as to follow an order in the interviews with the characters involved in this activity (employers, commercials, manufactures, artists\u00c2\u00bf) in this area of study and who could provide objective information about the formation and development of this trade, thus, as an approach to the different activities which emerged about the pictorial production since they are live interviews, accuracy in some data might not be as exact as wished, therefore, it has been imperative to execute a comparative an\u00e1lysis on the interviews with the aim of establish a chronology as well as a clear description of all facts. In this same line has emerged the need of a socioeconomic cultural contextualization of the analysed areas. For this, it has been very important to fulfill biographical consultations about field studies carried out in the form socioeconomic data complilation which are very useful to contextualize and place the subject inside the industrial scope as well as the economic one,so much, – and above all- those belonging to alicante's areas-l'alcoia and el contat,as well as the nacional territory. on the other hand, it has been apropiate to follow a detailed study on the making and production processes of the commercial pictorial product,from the very beginning to the final ending,which have been turned out to wholly clarify the particularities of this craft manufacture adapted to industrial production process. it has also been regarded as appropiate to carry out an an\u00e1lisis on the convergences and divergences during the pratice in holland in the xvii century as a paradigmatic fact. a greater sociological expansion has been tried in order to find out why a specific social group is inclined to adquire such types of commercial works, observing their historical background, with their similarities and differences, which have clarified a very particular phenomenon so little studied as commercial painting is. the second part has been determined by coexistence observation on commercial painting with contemporary art. The aim has been to accomplish a comparative an\u00e1lisis from observing both relationships as well as coexistence of commercial painting with contemporary plastic creation known as work of art. for a better understanding of this comparative an\u00e1lisis structuring it has been necessary to define the concept of irony in plastic art context with its most widespread modalities: kitsch, ugliness, repetition-seriality, and incitement. finally we have enlisted some Valencian artists according to basically two selection criterion: 1- artists who started walking this path of art in the 70s and in whose creative work we can notice critics and irony against mass popular culture focus on social and political complaints, and, from time to time, with serial production forms. 2- a production carried out by Valencian artists who started their carrers in the 80s and 90s, with relationship with popular visual culture to which,no doubt, has contributed commercial pictorical production which has been the focus of study in this work. a selecton which has been very useful, precisely, to observe convergences, divergences, relationship and coexistence of the commercial pictorial production with more elitist paintings but which has questioned these tradicional categories such as " high and low" cultures. 3-conclusions -four periods on pictorial comerce formation and evolution have clearly been contemplated: a- a first period of an incipient trade, known here as protocommerce, a period which goes from 1950 until 1962. b- a second consolidation on,which goes from 1962 to 1980 in which this trade gets its adulthood. c- a third expansion one in which diversification and growth is the result from 1980 until 2003. d- and last but not least, a fourth fall one whose result is a clear pronounced falling curve as far as the level of production and sales from 2003 until nowdays. the geographical economical context in an area with an enterprising tradition as well as with a commercial spirit, determines the focus given to a qualified activity, on principle and which is developed as a pictorial simulation understood as a way of patterns and styles imitation being apropiate to decorative tastes of each period. production of tools, supports and pictorial complements get industrialised, even though in many cases based on tradicional forms adapted to industrialised mechanised processes. the causes of the fall are due to change in tastes and decorative styles in which the frame- a complement that has highly helped gain-disappears. Importation of products from china with which is very difficult to compete owing to their low price, fill the market provoking an excess in offer over demand. analogies with the dutch artistic situation in the xvii century can be established as far as features and negative effects on workart are concerned, not only on quality and contemporariety of the subjects, since duch painting in the xvii century has great prestige and does not suffer from commercial thematic anachronisms. it hs been possible to corroborate that there have been direct allusive contacts by postmodern art to commercial painting. Allusions which have been produced from ironic reflection frame with distinct rhetorical stylistic resources. in the Valencian outlook, allutions to the new Valencian figuration to commercial painting haven't been direct, but coexistance and relationship with popular culture, as well as certain convergences and divergensces with some aspects of commercial praxis.<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abLa otra pintura. el simulacro pictorico, su industria y sus relaciones-convivencias con la creacion pl\u00e1stica contempor\u00e1nea (1950-2010)<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 La otra pintura. el simulacro pictorico, su industria y sus relaciones-convivencias con la creacion pl\u00e1stica contempor\u00e1nea (1950-2010) <\/li>\n
  • Autor:<\/strong>\u00a0 Rafael Calbo Such <\/li>\n
  • Universidad:<\/strong>\u00a0 Murcia<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 05\/02\/2013<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • Jos\u00e9 Mayor Iborra<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: Juan Romera agull\u00f3 <\/li>\n
        • Mar\u00eda Luisa Hodgson torres (vocal)<\/li>\n
        • sebastian Garcia garrido (vocal)<\/li>\n
        • Mar\u00eda Martinez Martinez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

           <\/p>\n","protected":false},"excerpt":{"rendered":"

          Tesis doctoral de Rafael Calbo Such Resumen de la tesis doctoral la otra pintura el simulacro pict\u00f3rico, su industria y […]<\/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":[8235,3806],"tags":[154145,31371,223857,53610,225839,41824],"class_list":["post-113795","post","type-post","status-publish","format-standard","hentry","category-murcia","category-pintura","tag-jose-mayor-iborra","tag-juan-romera-agullo","tag-maria-luisa-hodgson-torres","tag-maria-Martinez-Martinez","tag-rafael-calbo-such","tag-sebastian-garcia-garrido"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/113795","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=113795"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/113795\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=113795"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=113795"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=113795"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}