{"id":134516,"date":"1997-01-01T00:00:00","date_gmt":"1997-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-pintura-andaluza-del-siglo-xvii-y-sus-fuentes-grabadas\/"},"modified":"1997-01-01T00:00:00","modified_gmt":"1997-01-01T00:00:00","slug":"la-pintura-andaluza-del-siglo-xvii-y-sus-fuentes-grabadas","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/la-pintura-andaluza-del-siglo-xvii-y-sus-fuentes-grabadas\/","title":{"rendered":"La pintura andaluza del siglo xvii y sus fuentes grabadas."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Benito Navarrete Prieto <\/strong><\/h2>\n<p>En esta tesis doctoral, se aborda el estudio de los grabadores que mayor influjo tuvieron en la pintura sevillana y andaluza del siglo xvii, estudiando principalmente entre los del siglo xvi, a alberto durero, cornelis cort, goltzius, asi como las estampas de artistas del siglo xvii como bloemaert, rubens o van dyck, demostrando con ejemplos novedosos y claros lo importantes que fueron las composiciones y estampas de estos artistas en la configuracion de los modelos de los pintores estudiados, principalmente pertenecientes a los focos sevillano, cordobes, jienense y granadino del siglo xvii. Preceden al estudio de los grabadores, los capitulos teoricos dedicados al uso de las estampas a traves de los tratadistas, asi como al empleo de estas como medio de concrecion iconografica, reflexionando sobre la incidencia del concilio de trento en las estampas y como consecuencia su influjo en la pintura.  tambien especial analisis requieren las bibliotecas de los artistas, asi como la comercializacion del grabado y los recursos empleados para la mercantilizacion.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La pintura andaluza del siglo xvii y sus fuentes grabadas.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La pintura andaluza del siglo xvii y sus fuentes grabadas. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Benito Navarrete Prieto <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1997<\/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> P\u00e9rez S\u00e1nchez Alfonso Emilio<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio Bonet Correa <\/li>\n<li>Isabel Mateo G\u00f3mez (vocal)<\/li>\n<li>Enrique Valdivieso Gonzalez (vocal)<\/li>\n<li>Fernando Benito Domenech (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Benito Navarrete Prieto En esta tesis doctoral, se aborda el estudio de los grabadores que mayor influjo [&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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