{"id":39987,"date":"1999-01-01T00:00:00","date_gmt":"1999-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/mistica-y-erotica-en-la-escultura-castellana-del-siglo-de-oro\/"},"modified":"1999-01-01T00:00:00","modified_gmt":"1999-01-01T00:00:00","slug":"mistica-y-erotica-en-la-escultura-castellana-del-siglo-de-oro","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/mistica-y-erotica-en-la-escultura-castellana-del-siglo-de-oro\/","title":{"rendered":"Mistica y erotica en la escultura castellana del siglo de oro."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Collantes Hernaez Jos\u00e9 Joaquin <\/strong><\/h2>\n<p>La tesis intenta demostrar la relaci\u00f3n existente entre la obra realizada por el artista, el escultor barroco castellano en este caso, y las circunstancias hist\u00f3ricas y sociales que a dicho artista le toc\u00f3 vivir. As\u00ed, a trav\u00e9s del arte barroco del siglo xvii, podemos analizar la influencia de la religi\u00f3n, producto de la contrareforma, sobre el arte barroco en general y sobre la escultura castellana en particular. Por estas caracter\u00edsticas, a nuestro juicio, la obra del escultor barroco fue relegada a un \u00fanico papel emotivo, did\u00e1ctico y religioso en el que lo importante no era la obra en s\u00ed, sino los efectos que se intentaban que produjera. En una \u00e9poca en que lo m\u00e1s importante era persuadir y emocionar a trav\u00e9s de un arte que acab\u00f3 por convertirse en un instrumento.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Mistica y erotica en la escultura castellana del siglo de oro.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Mistica y erotica en la escultura castellana del siglo de oro. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Collantes Hernaez Jos\u00e9 Joaquin <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1999<\/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>Mar\u00eda  Teresa Escohotado Ibor<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: manuel Parralo dorado <\/li>\n<li>Jes\u00fas Vi\u00f1uales gonzalez (vocal)<\/li>\n<li>Javier Pereda pique (vocal)<\/li>\n<li>carmen P\u00e9rez Garc\u00eda (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Collantes Hernaez Jos\u00e9 Joaquin La tesis intenta demostrar la relaci\u00f3n existente entre la obra realizada por el [&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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