{"id":34686,"date":"1998-01-01T00:00:00","date_gmt":"1998-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/los-formatos-de-la-pintura-espanola-del-siglo-xvii-conservada-en-el-museo-del-prado-palacio-de-villanueva\/"},"modified":"1998-01-01T00:00:00","modified_gmt":"1998-01-01T00:00:00","slug":"los-formatos-de-la-pintura-espanola-del-siglo-xvii-conservada-en-el-museo-del-prado-palacio-de-villanueva","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/los-formatos-de-la-pintura-espanola-del-siglo-xvii-conservada-en-el-museo-del-prado-palacio-de-villanueva\/","title":{"rendered":"Los formatos de la pintura espa\u00f1ola del siglo xvii conservada en el museo del prado (palacio de villanueva)."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Seijas Seoane Jos\u00e9 M. <\/strong><\/h2>\n<p>Los formatos de la pintura espa\u00f1ola del siglo xvii vistos a trav\u00e9s de las colecciones del museo del prado (palacio de villanueva), presentan en muchos casos formas caprichosas. La procedencia de estas pinturas, que formaron parte de la decoraci\u00f3n de muchos de los palacios e iglesias hoy desaparecidas, justifica sus dimensiones, al tener que adaptarse a los vanos disponibles en los muros o en los huecos de los retablos. No obstante cuando los artistas pudieron trabajar con entera libertad creativa en cuanto a formato se refiere, han preferido dimensionar sus lienzos, siguiendo criterios mucho m\u00e1s racionales, que se fundamentan en la geometr\u00eda euclidiana, en la secci\u00f3n a\u00farea o en las proporciones arm\u00f3nicas que tanto promulgaron los tratadistas del renacimiento entre los que figuran: alberti, vitrubio, palladio o el espa\u00f1ol andr\u00e9s de valdelvira, que tanto habr\u00eda de influir en los artistas del barroco espa\u00f1ol.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Los formatos de la pintura espa\u00f1ola del siglo xvii conservada en el museo del prado (palacio de villanueva).<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Los formatos de la pintura espa\u00f1ola del siglo xvii conservada en el museo del prado (palacio de villanueva). <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Seijas Seoane Jos\u00e9 M. <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1998<\/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>Rosa Mar\u00eda Garceran Piqueras<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Miguel Ruiz Massip <\/li>\n<li> Garin Llombart Felipe Vicente (vocal)<\/li>\n<li>Francisco Ba\u00f1os Martos (vocal)<\/li>\n<li>Francisco Crespo Gimenez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Seijas Seoane Jos\u00e9 M. Los formatos de la pintura espa\u00f1ola del siglo xvii vistos a trav\u00e9s de [&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":[147,104,1014,222,3806,1111],"tags":[3811,20114,27648,6696,6549,93342],"class_list":["post-34686","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-historia","category-historia-del-arte","category-historias-especializadas","category-pintura","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-francisco-banos-martos","tag-francisco-crespo-gimenez","tag-garin-llombart-felipe-vicente","tag-miguel-ruiz-massip","tag-rosa-maria-garceran-piqueras","tag-seijas-seoane-jose-m"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/34686","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=34686"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/34686\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=34686"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=34686"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=34686"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}