{"id":154432,"date":"2026-01-12T17:12:16","date_gmt":"2026-01-12T17:12:16","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/derivaciones-del-espacio-postcubista-en-la-pintura-ultima-1950-1990\/"},"modified":"2026-01-12T17:12:16","modified_gmt":"2026-01-12T17:12:16","slug":"derivaciones-del-espacio-postcubista-en-la-pintura-ultima-1950-1990","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/derivaciones-del-espacio-postcubista-en-la-pintura-ultima-1950-1990\/","title":{"rendered":"Derivaciones del espacio postcubista en la pintura ultima, 1950-1990."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Adolf Genovart Herraiz <\/strong><\/h2>\n<p>Las derivaciones que a partir del primer cubismo (picasso, braque) se introducen en el espacio pictorico, en su relacion al objeto y a la representacion, son de vital importancia en la realizacion en obra por parte de los pintores americanos de los a\u00f1os 40 y 50 (pollock, de kooning, newman y otros) y su consiguiente libertad formal. Las prolongaciones del sistema espacial que introducen estos artistas para la pintura de este siglo (sistema post-cubista) llegan hasta nuestros dias en sucesivas ramificaciones siempre sujetas a la interpretacion individual de cada pintor. La actual valoracion del concepto de imagen lleva implicita la reflexion sobre el espacio pictorico, aunque esta ultima queda muchas veces olvidada en favor de explicaciones de orden social.  esta tesis incide en este olvido, investigando desde una metodolog\u00eda de analisis formal los sistemas de articulacion entre el espacio post-cubista en su deriva conceptual y el concepto de representacion.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Derivaciones del espacio postcubista en la pintura ultima, 1950-1990.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Derivaciones del espacio postcubista en la pintura ultima, 1950-1990. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Adolf Genovart Herraiz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1991<\/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>Pilar Palomer Mateos<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Xavier Franquesa Llopart <\/li>\n<li>Teresa Rovira Llobera (vocal)<\/li>\n<li> Valverde Pacheco Jos\u00e9 Mar\u00eda (vocal)<\/li>\n<li>Jos\u00e9 Angel Sanz Esquide (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Adolf Genovart Herraiz Las derivaciones que a partir del primer cubismo (picasso, braque) se introducen en el [&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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