{"id":12791,"date":"2018-03-09T08:58:47","date_gmt":"2018-03-09T08:58:47","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-recepcion-critica-de-picasso-en-espana-1900-1936\/"},"modified":"2018-03-09T08:58:47","modified_gmt":"2018-03-09T08:58:47","slug":"la-recepcion-critica-de-picasso-en-espana-1900-1936","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/la-recepcion-critica-de-picasso-en-espana-1900-1936\/","title":{"rendered":"La recepcion critica de picasso en espa\u00f1a. 1900-1936"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Natalia Bravo Ruiz <\/strong><\/h2>\n<p>La recepcion critica de picasso en espa\u00f1a (1900-1936) reune, ordena e interpreta los juicios que los escritores espa\u00f1oles formularon sobre la figura y la obra de picasso desde el inicio del siglo xx hasta la irrupcion de la guerra civil. Este estudio se remonta a los origenes de la critica picassiana en espa\u00f1a, en el contexto sociocultural de la barcelona modernista de 1900, recuperando los primeros escritos sobre picasso, no tanto por presentar un interes como ejercicios hermenuticos -pues se reducen a cumplir una funcion divulgativa-, como por poseer el privilegio historico de descubrir el talento del joven artista. Sera entre los a\u00f1os 1911 y 1913 cuando la critica catalana haga aportaciones interpretativas sobre la praxis cubista que puedan parangonarse a sus ejemplos coetanos franceses. Asi, los criticos eugeni d\u00c2\u00bfors y josep maria junoy, a traves del proyecto noucentista o mediterraneista que posibilita la entrada de la modernidad en catalu\u00f1a, fueron capaces de recepcionar, a su manera, la vanguardia que inauguraba picasso. A partir de entonces, la critica \u00abiberica\u00bb no parar\u00e1 de enjuiciar al mito de arte moderno, sirviendo picasso de cerradura magica para abrir todas las puertas del arte nuevo. Pero, contra las voces que luchaban por la renovacion plastica, enarbolando la bandera revolucionaria del \u00abtorero\u00bb de la pintura, se produjo el alzamiento-representando la espa\u00f1a \u00aben negativo\u00bb-de los anticubistas, hijos de la enfermedad mas ignorante: el \u00abpasadismo\u00bb. En medio de estas tensiones se desplegaban las energias moderadas, hijas de una tradicion moderna y salvadoras de \u00abmedio picasso\u00bb, al empecinarse en descubrir la tranquilidad de su brisa mediterranea. Y, en esta mara\u00f1a de \u00abperfiles hispanicos\u00bb, terminarian triunfando, en 1936, los amigos de las artes nuevas, al dar a conocer en barcelona-Madrid-bilbao, la obra, por primera vez vista, del picasso revolucionario, a pesar de&#8230; Aun asi, este acto heroico no tuvo la continuidad<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La recepcion critica de picasso en espa\u00f1a. 1900-1936<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La recepcion critica de picasso en espa\u00f1a. 1900-1936 <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Natalia Bravo Ruiz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 M\u00e1laga<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 18\/09\/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>Eugenio Carmona Mato<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Juan  Antonio Ramirez dominguez <\/li>\n<li>Mar\u00eda  teresa Mendez baiges (vocal)<\/li>\n<li>mart\u00ed Peran rafart (vocal)<\/li>\n<li>victoria Carballo-calero Mar\u00eda (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Natalia Bravo Ruiz La recepcion critica de picasso en espa\u00f1a (1900-1936) reune, ordena e interpreta los juicios [&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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