{"id":114968,"date":"2013-11-12T00:00:00","date_gmt":"2013-11-12T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/pintura-vinculada-a-la-arquitectura-durante-la-segunda-mitad-del-s-xx-en-la-ciudad-de-murcia\/"},"modified":"2013-11-12T00:00:00","modified_gmt":"2013-11-12T00:00:00","slug":"pintura-vinculada-a-la-arquitectura-durante-la-segunda-mitad-del-s-xx-en-la-ciudad-de-murcia","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-del-arte\/pintura-vinculada-a-la-arquitectura-durante-la-segunda-mitad-del-s-xx-en-la-ciudad-de-murcia\/","title":{"rendered":"Pintura vinculada a la arquitectura durante la segunda mitad del s.xx en la ciudad de murcia"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Gema Carbonell Lloreda <\/strong><\/h2>\n<p>Trata de una recopilaci\u00f3n y catalogaci\u00f3n de una serie de obras art\u00edsticas originales de tipo decorativo, a modo de murales en variadas t\u00e9cnicas, que han quedado vinculadas a las entradas de los edificios que las sustentan y configuran as\u00ed parte del propio conjunto arquitect\u00f3nico. Actualmente esta catalogaci\u00f3n no est\u00e1 cerrada ni concluida, pues a d\u00eda de hoy siguen apareciendo  nuevos ejemplares que merecen ser registrados en un futuro. el trabajo de campo es el detonante de esta investigaci\u00f3n, acompa\u00f1\u00e1ndolo de numerosas fuentes documentales, como biograf\u00edas de artistas, cat\u00e1logos de obras relacionadas, as\u00ed como un minucioso estudio de las t\u00e9cnicas art\u00edsticas empleadas en dichas obras. para entender este tipo de obras art\u00edsticas es necesario investigar una serie de antecedentes hist\u00f3ricos. Tambi\u00e9n es necesario conocer a los artistas del momento as\u00ed como su contexto social, hist\u00f3rico y cultural, habiendo descubierto agrupaciones colectivas entre estos artistas.  a parte de las obras a analizar, las situadas en los vest\u00edbulos y zaguanes de las viviendas particulares, se han complementado con otras obras de la misma \u00e9poca, que est\u00e1n situadas en las entradas y en los espacios comunes de edificios de \u00e1mbito p\u00fablico. en parte, otro de los objetivos de este estudio de investigaci\u00f3n, deber\u00eda ser sensibilizar y concienciar al ciudadano de la importancia de la tarea de conservaci\u00f3n y protecci\u00f3n del patrimonio, del valor que tienen al presente y que pueden llegar a tener esta serie de obras en un futuro, y en conclusi\u00f3n, de saber valorar y reconocer su pasado hist\u00f3rico art\u00edstico aunque sea relativamente reciente. el trabajo de investigaci\u00f3n aqu\u00ed presente, se encuentra dividido en tres bloques tem\u00e1ticos, relacionados entre s\u00ed: el primer bloque  pertenece a la parte introductora de car\u00e1cter hist\u00f3rico, donde se estudia el origen de las piezas, su clasificaci\u00f3n, catalogaci\u00f3n y contexto hist\u00f3rico, as\u00ed como una breve alusi\u00f3n a diferentes obras ya desaparecidas. Se encuentra subdividido entre obras de \u00e1mbito p\u00fablico y obras de \u00e1mbito privado. Este bloque viene acompa\u00f1ado de numerosa documentaci\u00f3n gr\u00e1fica, an\u00e1lisis de datos y apoyo en diversas fuentes documentales. el segundo bloque trata sobre los artistas creadores de las obras que comprenden el estudio de investigaci\u00f3n, desde los m\u00e1s lejanos en el tiempo hasta los contempor\u00e1neos nuestros. Este bloque abarca una breve menci\u00f3n de sus biograf\u00edas, las cuales  nos relatan su vida y su trayectoria art\u00edstica. Tambi\u00e9n incluye este bloque las diferentes agrupaciones de dichos artistas, de tipo reivindicativo en su mayor\u00eda, las cuales surgieron sobre todo a mediados del siglo xx. Estudiando las razones que dieron lugar a este tipo de obras y sus caracter\u00edsticas comunes. el tercer bloque contiene un amplio apartado dedicado a las t\u00e9cnicas grafico pl\u00e1sticas con las que se realizaron estas piezas, siendo muy variado debido a que se realizaron en una \u00e9poca de investigaci\u00f3n experimental de las t\u00e9cnicas art\u00edsticas, que es el antecedente que ha dado lugar a que hoy podamos tener una mayor libertad en cuanto a la t\u00e9cnica pl\u00e1stica en el arte de hoy. Trata de un estudio de dichas t\u00e9cnicas y soportes, avalado por diferentes fuentes documentales.  finalmente en los anexos, encontraremos varios apartados relacionados con el tema a analizar. As\u00ed como los informes de las piezas analizadas, esquemas para una mayor comprensi\u00f3n, ejes cronol\u00f3gicos, mapas donde  aparece la ubicaci\u00f3n de las piezas, etc. para concluir la tesis doctoral, hemos llegado a una serie de conclusiones generales: la pintura decorativa ha estado presente en la ciudad de murcia a lo largo de la historia, y todav\u00eda hoy encontramos muestras vigentes, que nos lo confirman.  lejos de los grandes encargos de programas pict\u00f3ricos, civiles y religiosos, que hasta el siglo xx eran habituales, nace un nuevo tipo de encargo, el particular y de \u00e1mbito privado, as\u00ed como en el \u00e1mbito institucional. la tem\u00e1tica desarrollada es variada, tambi\u00e9n se han utilizado diferentes tendencias art\u00edsticas, como la figuraci\u00f3n, la abstracci\u00f3n, las formas cubistas e impresionistas, entre otras. en estas realizaciones decorativas y art\u00edsticas se han utilizado variadas t\u00e9cnicas pict\u00f3ricas murales y soportes. fueron muchos artistas los art\u00edfices de este tipo de decoraciones, algunos ten\u00edan en com\u00fan las mismas inquietudes art\u00edsticas, llegando a formar por ello una serie de colectivos. sabemos que pueden aparecer obras que desconocemos a d\u00eda de hoy, pero hay que dejar claro la posibilidad de una fruct\u00edfera expansi\u00f3n de esta investigaci\u00f3n aqu\u00ed presente  al cierre de este trabajo hemos seguido conociendo datos, como alguna autor\u00eda desconocida. Por ello esta tesis doctoral queda abierta a la investigaci\u00f3n, con la intenci\u00f3n de seguir investigando y catalogando este tipo de obras.   this thesis is a compilation and a cataloging a series of original artworks decorative type, for murals in different techniques, which have been linked to the inputs of the buildings that support, shape and own part of the architectural ensemble. Currently, this documentation is not closed or completed; new issues have appeared which deserve being catalogued in the future. fieldwork is the starting point of this investigation, together with a great number of documentary sources, such as artist biographies, catalogs of related works as well as a thorough study of the artistic techniques employed in these works. to understand this type of artistic works is necessary to investigate a series of historical backgrounds. It is also necessary to know the hottest artists and their social, historical and cultural environment, having discovered between these artists collective groupings. apart from the works to be studied, those located in the lobbies and hallways of private homes, i have contributed with other works from the same period which can be found at the entrance and common areas of public sector buildings. besides, this research should also contribute to make people feel aware of how important the conservation and protection of our heritage is by recognizing its historic values, no matter how old is. this research is divided into the following three thematic sections: the first block belongs to the introductory part of a historical nature, which studies the origin of pieces, their classification, cataloging and historical context, and a brief reference to those which have disappeared. It is sub-classified into public and private works. This block comes with a large graphic documentation, support data analysis and a variety of documentary sources. the second part deals with the artists who created the works that formed this study, from the distant past to the present. This section includes a brief mention of their biographies and the groups these artists belonged to in the mid-twentieth century to explain the reasons that led to these style of works and their common features. the third section contains a comprehensive study on plastic graphic techniques used to create these pieces, a difficult task because it was conducted in an era of experimental research of artistic techniques. This has led to more freedom in plastic art nowadays. finally, the reader would find several sections in annexes related to these subjects, for example reports on analyzed items, diagrams, chronological axis, maps, and so on. to conclude the thesis, we have reached a number of general conclusions: the decorative painting has been in the city of murcia throughout history, and still today we find existing samples, we confirm this. far from the pictorial program major commissions, civil and religious, until the twentieth century that were common, comes a new type of job, the individual and private sphere, as well as at the institutional level. the theme developed is varied, have also used different artistic trends such as figuration, abstraction, cubism and impressionist forms, among others. these decorative and artistic achievements have used various mural painting techniques and media. many artists were the architects of this type of decorations, some had in common the same artistic interests, reaching thereby form a number of groups. we know that you know works may appear today, but we must make clear the possibility of a successful expansion of this research present here at the end of this work we have followed knowing data, as some unknown authorship. Thus this thesis is open to research, with the intention to continue researching and cataloging these works.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Pintura vinculada a la arquitectura durante la segunda mitad del s.xx en la ciudad de murcia<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Pintura vinculada a la arquitectura durante la segunda mitad del s.xx en la ciudad de murcia <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Gema Carbonell Lloreda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 11\/12\/2013<\/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>Mar\u00eda  Victoria Santiago Godos<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jes\u00fas Francisco Rivas carmona <\/li>\n<li>consuelo Dalmau moliner (vocal)<\/li>\n<li>Ana M\u00aa Macarr\u00f3n Miguel (vocal)<\/li>\n<li>gregorio Canales mart\u00ednez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Gema Carbonell Lloreda Trata de una recopilaci\u00f3n y catalogaci\u00f3n de una serie de obras art\u00edsticas originales de [&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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