{"id":11529,"date":"2018-03-09T08:56:56","date_gmt":"2018-03-09T08:56:56","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/de-la-realidad-fingida-al-ilusionismo-abstracto-el-lugar-de-la-escultura-abstracta\/"},"modified":"2018-03-09T08:56:56","modified_gmt":"2018-03-09T08:56:56","slug":"de-la-realidad-fingida-al-ilusionismo-abstracto-el-lugar-de-la-escultura-abstracta","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/de-la-realidad-fingida-al-ilusionismo-abstracto-el-lugar-de-la-escultura-abstracta\/","title":{"rendered":"De la realidad fingida al ilusionismo abstracto: el lugar de la escultura abstracta."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Eva Santos S\u00e1nchez-guzman <\/strong><\/h2>\n<p>En principio se exponen algunas pautas que nos acercan a la escultura abstracta de un modo \u00abformalista\u00bb, analizando tres caracter\u00edsticas: la calidad t\u00e1ctil, el espacio f\u00edsico que ocupa y el equilibrio. Dentro de las corrientes de la vanguardia hist\u00f3rica.  un segundo paso es el an\u00e1lisis del t\u00e9rmino abstracci\u00f3n, de un modo ling\u00ed\u00bc\u00edstico y filos\u00f3fico. Destacando lo que en \u00e9l hay de simbolismo.  simbolismo y abstracci\u00f3n se unen en diferentes ejemplos y clasificaciones de esculturas abstractas.  finalmente se obtiene el t\u00e9rmino ilusionismo abstracto como paso de las tres dimensiones espaciales f\u00edsicas a un espacio ilusorio, personal: un espacio del ensue\u00f1o.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>De la realidad fingida al ilusionismo abstracto: el lugar de la escultura abstracta.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 De la realidad fingida al ilusionismo abstracto: el lugar de la escultura abstracta. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Eva Santos S\u00e1nchez-guzman <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 22\/06\/2001<\/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>Rodolfo Conesa Bermejo<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Cuadra gonz\u00e1lez-meneses consuelo de la <\/li>\n<li>Mar\u00eda  de los desamparados Carbonell tatay (vocal)<\/li>\n<li>Francisco Molinero ayala (vocal)<\/li>\n<li> Albadalejo gonz\u00e1lez Juan  Carlos (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Eva Santos S\u00e1nchez-guzman En principio se exponen algunas pautas que nos acercan a la escultura abstracta 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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