{"id":24539,"date":"2003-10-07T00:00:00","date_gmt":"2003-10-07T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-creacion-pictorica-en-la-ceramica-de-pablo-picasso\/"},"modified":"2003-10-07T00:00:00","modified_gmt":"2003-10-07T00:00:00","slug":"la-creacion-pictorica-en-la-ceramica-de-pablo-picasso","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-creacion-pictorica-en-la-ceramica-de-pablo-picasso\/","title":{"rendered":"La creaci\u00f3n pict\u00f3rica en la cer\u00e1mica de pablo picasso"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Salvador Haro Gonz\u00e1lez <\/strong><\/h2>\n<p>Esta investigaci\u00f3n recoge un campo de la actividad picassiana al que hasta hoy los cr\u00edticos han concedido una importancia secundaria.  mediante este trabajo se pone de manifiesto la verdadera importancia de esta parte del trabajo del art\u00edsta y la profunda imbricaci\u00f3n que existe entre todas las facetas de la creaci\u00f3n picassiana, y como es imposible comprender el proceso de creaci\u00f3n en el art\u00edsta obviando ninguna de ellas.  adem\u00e1s de establecer relaciones formales, t\u00e9cnicas y conceptuales entre la obra en cer\u00e1mica con el resto de la obra, se propone un modelo de clasificaci\u00f3n de la cer\u00e1mica picassiana a partir de volumen de los objetos, que parte de la premisa de que es la forma tridimensional de las piezas la que condiciona el conjunto del proceso de creaci\u00f3n de los signos que picasso desarrolla sobre ellas.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La creaci\u00f3n pict\u00f3rica en la cer\u00e1mica de pablo picasso<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La creaci\u00f3n pict\u00f3rica en la cer\u00e1mica de pablo picasso <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Salvador Haro Gonz\u00e1lez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Granada<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 10\/07\/2003<\/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> Mole\u00f3n Viana Miguel Angel<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: pedro Osakar olaiz <\/li>\n<li>rodolfo Conesa bermejo (vocal)<\/li>\n<li>Carlos Jim\u00e9nez mart\u00edn (vocal)<\/li>\n<li>Jos\u00e9 Chavete rodriguez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Salvador Haro Gonz\u00e1lez Esta investigaci\u00f3n recoge un campo de la actividad picassiana al que hasta hoy los [&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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