{"id":142466,"date":"2026-04-28T04:34:13","date_gmt":"2026-04-28T04:34:13","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/jose-maria-rodriguez-acosta-1878-1941-pintor-entre-dos-siglos\/"},"modified":"2026-04-28T04:34:13","modified_gmt":"2026-04-28T04:34:13","slug":"jose-maria-rodriguez-acosta-1878-1941-pintor-entre-dos-siglos","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/jose-maria-rodriguez-acosta-1878-1941-pintor-entre-dos-siglos\/","title":{"rendered":"Jose maria rodriguez-acosta (1878-1941). pintor entre dos siglos."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Revilla Uceda Miguel Angel <\/strong><\/h2>\n<p>La tesis \u00abjose maria rodriguez-acosta (1878-1941). Pintor entre dos siglos\u00bb, aborda el estudio biografico y de su obra pictorica con un \u00abcatalogo razonado\u00bb completo de la misma.  estructurada vida y obra en rigurosa secuencia cronologica, estudia en un primer capitulo su biografia interrelacionada con los acontecimientos historicos (politicos y culturales) mas destacados dentro y fuera de espa\u00f1a para situarlo de forma correcta en su contexto.  los cuatro capitulos siguientes constituyen el estudio critico de su obra tomando como eje aquellos cuadros considerados por el autor claves parz los cambios o alteraciones estilisticas o conceptuales, asi como otros sucesos de indole no pictorica, tal como la edificacion del celebre carmen, sede de la fundacion por el creada.  finalmente, en volumenes aparte se presenta toda la reproduccion fotografica de la obra y un apendice documental, reproduccion de materiales graficos privados y otros publicados en prensa.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Jose maria rodriguez-acosta (1878-1941). pintor entre dos siglos.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Jose maria rodriguez-acosta (1878-1941). pintor entre dos siglos. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Revilla Uceda Miguel Angel <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Granada<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1993<\/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>mesa Martin Sanchez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 Manuel Pita Andrade <\/li>\n<li> Banda Vargas Antonio  De La (vocal)<\/li>\n<li>Juli\u00e1n Gallego Serrano (vocal)<\/li>\n<li>Juan  Salvador Paredes Nu\u00f1ez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Revilla Uceda Miguel Angel La tesis \u00abjose maria rodriguez-acosta (1878-1941). Pintor entre dos siglos\u00bb, aborda el estudio [&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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[147,104,2563,222,3806,1111],"tags":[5376,3683,7277,5445,22079,257165],"class_list":["post-142466","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-historia","category-historia-del-arte-de-los-siglos-xix-y-xx","category-historias-especializadas","category-pintura","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-banda-vargas-antonio-de-la","tag-jose-manuel-pita-andrade","tag-juan-salvador-paredes-nunez","tag-julian-gallego-serrano","tag-mesa-martin-sanchez","tag-revilla-uceda-miguel-angel"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/142466","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=142466"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/142466\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=142466"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=142466"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=142466"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}