{"id":37093,"date":"1998-01-01T00:00:00","date_gmt":"1998-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/los-frottages-de-max-ernst-aplicacion-practica-de-un-metodo-automatico\/"},"modified":"1998-01-01T00:00:00","modified_gmt":"1998-01-01T00:00:00","slug":"los-frottages-de-max-ernst-aplicacion-practica-de-un-metodo-automatico","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/los-frottages-de-max-ernst-aplicacion-practica-de-un-metodo-automatico\/","title":{"rendered":"Los frottages de max ernst: aplicacion practica de un metodo automatico."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Jose Galindo Galvez <\/strong><\/h2>\n<p>La pintura de max ernst, de virulento origen dad\u00e1 y de intencionado desarrollo surrealista, se situa, en apariencia, bajo los presupuestos de la espontaneidad y el automatismo. Si sus escritos as\u00ed lo confirman, su obra, en cambio, parece perfectamente predeterminada: una singular comuni\u00f3n entre desvario y precisi\u00f3n. Esta paradoja organiza y alimenta esta tesis doctoral. As\u00ed, embozada tras un modelo de historia del arte, acaba perfilandose como estudio espec\u00edfico de los m\u00e9todos autom\u00e1ticos de creaci\u00f3n.  dividida en tres cap\u00edtulos, el primero, contexto historico, viene a contener lo esencial de las actitudes vitales, te\u00f3ricas y art\u00edsticas de los movimientos dad\u00e1 y surrealista, que redescubrieron y sistematizaron respectivamente las leyes del azar y el automatismo como principios que rigen la inspiraci\u00f3n.  el segundo, el collage, aparece justificado en la medida que esta t\u00e9cnica se situa en el origen del frottage. De este modo, en \u00e9l quedan resumidos los entresijos de los procedimientos de selecci\u00f3n y manipulaci\u00f3n que se dan en esta t\u00e9cnica, en todo similares a las de la t\u00e9cnica que constituye el objeto central de este estudio, y abundantemente ejemplificados por ernst.  el tercero, el frottage, m\u00e9todo manifiestamente af\u00edn al modelo te\u00f3rico-pr\u00e1ctico surrealista, que acaba por concretarse en 1925 en la serie historia natural.  analizando esta puntual aplicaci\u00f3n pr\u00e1ctica de un m\u00e9todo autom\u00e1tico y el continuo aparecer de la t\u00e9cnica primigenia en toda la producci\u00f3n posterior de ernst, cada vez m\u00e1s manipulada y recreada en forma de grattage, comprobamos como el pretendido automatismo acaba por disolverse en simple alegr\u00eda de pintar.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Los frottages de max ernst: aplicacion practica de un metodo automatico.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Los frottages de max ernst: aplicacion practica de un metodo automatico. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Jose Galindo Galvez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Valencia<\/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>Lu\u00eds Armand Buend\u00eda<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Yturralde Lopez Jos\u00e9 M. <\/li>\n<li>Ignacio Oliva Mompe\u00e1n (vocal)<\/li>\n<li> Gonzalez Cuasante Jos\u00e9 M. (vocal)<\/li>\n<li>Victor Blasco Marques (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Jose Galindo Galvez La pintura de max ernst, de virulento origen dad\u00e1 y de intencionado desarrollo surrealista, [&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":[147,3806,16820,1111],"tags":[93444,16840,97619,16836,79623,16837],"class_list":["post-37093","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-pintura","category-politecnica-de-valencia","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-gonzalez-cuasante-jose-m","tag-ignacio-oliva-mompean","tag-jose-galindo-galvez","tag-luis-armand-buendia","tag-victor-blasco-marques","tag-yturralde-lopez-jose-m"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/37093","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=37093"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/37093\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=37093"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=37093"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=37093"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}