{"id":122213,"date":"2024-07-25T02:05:01","date_gmt":"2024-07-25T02:05:01","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/imagen-espacio-y-fondo-en-la-pintura-espanola-del-primer-renacimiento-analisis-iconograficos-y-formales\/"},"modified":"2024-07-25T02:05:01","modified_gmt":"2024-07-25T02:05:01","slug":"imagen-espacio-y-fondo-en-la-pintura-espanola-del-primer-renacimiento-analisis-iconograficos-y-formales","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/imagen-espacio-y-fondo-en-la-pintura-espanola-del-primer-renacimiento-analisis-iconograficos-y-formales\/","title":{"rendered":"Imagen  espacio y fondo en la pintura espa\u00f1ola del primer renacimiento. analisis iconograficos y formales."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Ana Avila Padron <\/strong><\/h2>\n<p>En la presente tesis analizamos diversos aspectos sobre la pintura espa\u00f1\/ola de las ultimas decadas del siglo xv y de la primera mitad de la siguiente centuria. Se hace especial insistencia en las relaciones artisticas de la peninsula con italia y el lenguaje nordico; en ello juega un papel muy importante el repertorio de los grabados. Un especial cuidado merecia el estudiode la organizacion del campo figurativo y la aplicacion de la perspectiva. En gran medida la tesis se dedica al estudio de los fondos pictoricos  ya sean arquitectonicos como paisajisticos.  lo que en ellos surge se examina con atencion no solo en presencia de superficies doradas o tejidos labrados  sino el extraordinario repertorio ornamental  que se estudia formal y simbolicamente  desgranando su vinculacion con el episodio principal.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Imagen  espacio y fondo en la pintura espa\u00f1ola del primer renacimiento. analisis iconograficos y formales.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Imagen  espacio y fondo en la pintura espa\u00f1ola del primer renacimiento. analisis iconograficos y formales. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Ana Avila Padron <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1987<\/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 Rogelio Buendia  Mu\u00f1oz<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Alfonso Perez Sanchez <\/li>\n<li>Santiago Sebastan (vocal)<\/li>\n<li>Santiago Alcolea Gil (vocal)<\/li>\n<li> Martin Gonzalez  Juan  Jos\u00e9 (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Ana Avila Padron En la presente tesis analizamos diversos aspectos sobre la pintura espa\u00f1\/ola de las ultimas [&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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