{"id":30379,"date":"2018-03-09T09:23:57","date_gmt":"2018-03-09T09:23:57","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-pintura-renovadora-de-jacinta-gil-roncales-cra%c2%adtica-social-y-afinidad-con-el-mundo-de-la-poesa%c2%ada\/"},"modified":"2018-03-09T09:23:57","modified_gmt":"2018-03-09T09:23:57","slug":"la-pintura-renovadora-de-jacinta-gil-roncales-cra%c2%adtica-social-y-afinidad-con-el-mundo-de-la-poesa%c2%ada","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/politecnica-de-valencia\/la-pintura-renovadora-de-jacinta-gil-roncales-cra%c2%adtica-social-y-afinidad-con-el-mundo-de-la-poesa%c2%ada\/","title":{"rendered":"La pintura renovadora de jacinta gil roncal\u00e9s, cr\u00edtica social y afinidad con el mundo de la poes\u00eda"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Carmen Ballester Mateu <\/strong><\/h2>\n<p>Este estudio profundiza en la evoluci\u00f3n art\u00edstica de una pintora Valenciana perteneciente a la primera generaci\u00f3n de postguerra, jacinta gil roncal\u00e9s (1917). En diferentes etapas, se analiza su esp\u00edritu cr\u00edtico social, originalmente existencialista, reflejado en sus a\u00f1os de entrega al desarrollo de diferentes lenguajes pl\u00e1sticos (bidimensional, tachista, informal, espacial geom\u00e9trico, realista social, etc.), Con una orientaci\u00f3n te\u00f3rica absorbida de los escritos del pintor manuel gil y el escultor jorge oteiza.  a lo largo de seis d\u00e9cadas consecutivas, 1940-2003, la historia de jacinta gil trasciende como un testimonio aut\u00e9ntico de las tendencias pict\u00f3ricas surgidas en su ciudad natal. En su misma biograf\u00eda, se relatan los eventos m\u00e1s significativos del momento, como la iii exposici\u00f3n de arte universitario (1942), la i bienal de arte del reino de Valencia (1951), el i sal\u00f3n de oto\u00f1o (1955), el i sal\u00f3n del mediterr\u00e1neo (1966), etc.; Incluy\u00e9ndose su participaci\u00f3n en la fundaci\u00f3n del grupo z (1947-1950), su colaboraci\u00f3n con el grupo parpall\u00f3 (1956-1960) y con arte actual del mediterr\u00e1neo (1956-1969).  finalmente, la investigaci\u00f3n se centra en su trayectoria personal, en la presentaci\u00f3n p\u00fablica de sus \u00faltimas series [convergencia (1974-1975), sin t\u00edtulo (1981), sugerencias (1986), homonaje al barroco (1989), dinamismo crom\u00e1tico (1991-1992), mis queridos monstruos (1993-1994), galer\u00eda de depredadores (1996), estudio de distancias (1997) y con la l\u00ednea hacia lo inveros\u00edmil (1998-2000)], trabajos que re\u00fanen una expresi\u00f3n abstracta l\u00edrica (por sus ra\u00edces po\u00e9ticas) junto a una figuraci\u00f3n social, ir\u00f3nica y simb\u00f3lica, propia de una artista comprometida con su tiempo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La pintura renovadora de jacinta gil roncal\u00e9s, cr\u00edtica social y afinidad con el mundo de la poes\u00eda<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La pintura renovadora de jacinta gil roncal\u00e9s, cr\u00edtica social y afinidad con el mundo de la poes\u00eda<\/li>\n<li><strong>Autor:<\/strong>\u00a0 Carmen Ballester Mateu <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Valencia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 28\/05\/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> Blasco Carrascosa Juan  Angel<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: pablo Ram\u00edrez p\u00e9rez <\/li>\n<li>wenceslao Rambla zaragoza (vocal)<\/li>\n<li>horacio Silva sebasti\u00e1n (vocal)<\/li>\n<li>aurora Valero cuenca (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Carmen Ballester Mateu Este estudio profundiza en la evoluci\u00f3n art\u00edstica de una pintora Valenciana perteneciente a la [&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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