{"id":28810,"date":"2018-03-09T09:21:40","date_gmt":"2018-03-09T09:21:40","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/julio-lopez-hernandez-en-el-contexto-del-realismo-espanol\/"},"modified":"2018-03-09T09:21:40","modified_gmt":"2018-03-09T09:21:40","slug":"julio-lopez-hernandez-en-el-contexto-del-realismo-espanol","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/julio-lopez-hernandez-en-el-contexto-del-realismo-espanol\/","title":{"rendered":"Julio l\u00f3pez hern\u00e1ndez en el contexto del realismo espa\u00f1ol"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Fern\u00e1ndez Fern\u00e1ndez M. Pilar <\/strong><\/h2>\n<p>El prop\u00f3sito de esta tesis es determinar las claves espec\u00edficas del discurso realista del escultor madrile\u00f1o julio l\u00f3pez hern\u00e1ndez, dentro del contexto del realismo espa\u00f1ol. Para ello se aborda su escultura, esencialmente humanista, desde un estudio antropol\u00f3gico y psicol\u00f3gico. Se parte de una reflexi\u00f3n sobre el concepto de realismo, las razones infundidas de su descr\u00e9dito y marginaci\u00f3n, para pasar a hacer una exposici\u00f3n sobre el devenir hist\u00f3rico del realismo cotidiano hasta el siglo xx. Se analiza la posici\u00f3n del artista dentro del grupo realista madrile\u00f1o de \u00ablos l\u00f3pez\u00bb y, se rastrean planteamientos realistas parecidos a los suyos a nivel nacional e internacional, estableciendo paralelismos y diferencias. El cap\u00edtulo segundo se dedica a estudiar las fuentes conceptuales que sirven  de soporte a sus im\u00e1genes, y las fuentes sensibles con las que su escultura hace mimesis. En los cap\u00edtulos siguientes, se establecen los principios t\u00e9cnicos y creativos que informan su escultura, los recursos pl\u00e1ticos que utiliza para comunicar lo que quiere decir, y se procede a estructurar en etapas su trayectoria art\u00edstica hasta el momento actual. En el cap\u00edtulo quinto, se determina el eje de su obra, la experiencia personal, de la que deriva un realismo psicol\u00f3gico centrado en representar la realidad \u00abinvisible\u00bb del hombre. Se estudian las categor\u00edas que informan su concepci\u00f3n dual de la realidad: lo exterior\/interior, lo p\u00fablico\/privado y lo corp\u00f3reo\/incorp\u00f3reo y, se definen los par\u00e1metros de su escultura; la intimidad en su relaci\u00f3n con la po\u00e9tica de la presencia-ausencia y el fragmento, el fluir del tiempo y el mundo cotidiano.  finalmente, se analiza la parte menos conocida de su producci\u00f3n: la escultura conmemorativa (monumentos, escultura monumental, medallas y placas), la escultura religiosa y el dibujo. Se incluye un cat\u00e1logo provisional de toda su obra.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Julio l\u00f3pez hern\u00e1ndez en el contexto del realismo espa\u00f1ol<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Julio l\u00f3pez hern\u00e1ndez en el contexto del realismo espa\u00f1ol <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Fern\u00e1ndez Fern\u00e1ndez M. Pilar <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 23\/02\/2004<\/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> Garc\u00eda De Carpi Lucia<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Ana Mar\u00eda Arias de coss\u00edo <\/li>\n<li>Mar\u00eda  soledad Alvarez Martinez (vocal)<\/li>\n<li>Antonio Bonet correa (vocal)<\/li>\n<li>Carlos Reyero hermosilla (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Fern\u00e1ndez Fern\u00e1ndez M. Pilar El prop\u00f3sito de esta tesis es determinar las claves espec\u00edficas del discurso realista [&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":[1],"tags":[5032,7416,13424,52268,37466,8860],"class_list":["post-28810","post","type-post","status-publish","format-standard","hentry","category-sin-categoria","tag-ana-maria-arias-de-cossio","tag-antonio-bonet-correa","tag-carlos-reyero-hermosilla","tag-fernandez-fernandez-m-pilar","tag-garcia-de-carpi-lucia","tag-maria-soledad-alvarez-Martinez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/28810","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=28810"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/28810\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=28810"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=28810"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=28810"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}