{"id":141627,"date":"2026-01-12T18:04:04","date_gmt":"2026-01-12T18:04:04","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/analogias-romanticas-en-la-escultura-de-los-ochenta-la-representacion-del-paisaje-en-la-escultura\/"},"modified":"2026-01-12T18:04:04","modified_gmt":"2026-01-12T18:04:04","slug":"analogias-romanticas-en-la-escultura-de-los-ochenta-la-representacion-del-paisaje-en-la-escultura","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/analogias-romanticas-en-la-escultura-de-los-ochenta-la-representacion-del-paisaje-en-la-escultura\/","title":{"rendered":"Analogias romanticas en la escultura de los ochenta: la representacion del paisaje en la escultura."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Pere L\u00f3pez Vidal <\/strong><\/h2>\n<p>Estudio desde la perspectiva de un escultor, que se establece entre la escultura actual y el resurgimiento de aspectos procedentes de la imaginacion romantica. Los diferentes ejemplos, referencias y actitudes se organizan a partir de tres tematicas de contenido romantico, quedando estructurados en:  la naturaleza como espacio de referencia para la representacion del paisaje en la escultura.  el tiempo como proceso de implicacion del espectador con la obra.  el fragmento como principio de enso\u00f1acion ante la presencia de una poetica de lo ausente.  estas tres orientaciones de la tesis genera una practica escultorica del investigador cuya orientacion se aglutina en torno a planteamientos de espacio, tiempo y fragmento.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Analogias romanticas en la escultura de los ochenta: la representacion del paisaje en la escultura.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Analogias romanticas en la escultura de los ochenta: la representacion del paisaje en la escultura. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Pere L\u00f3pez Vidal <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Castilla-la mancha<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1992<\/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> Llorens Montoro Juan  Vicente<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Ignacio Oliva Mompe\u00e1n <\/li>\n<li>Sebasti\u00e1n Miralles Puchol (vocal)<\/li>\n<li> Fernando De La Iglesia Juan (vocal)<\/li>\n<li> Sarmiento Garcia Jos\u00e9 Antonio (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Pere L\u00f3pez Vidal Estudio desde la perspectiva de un escultor, que se establece entre la escultura actual [&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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