{"id":44420,"date":"2018-10-29T03:30:04","date_gmt":"2018-10-29T03:30:04","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-paisaje-espanol-del-xix-del-naturalismo-al-impresionismo\/"},"modified":"2018-10-29T03:30:04","modified_gmt":"2018-10-29T03:30:04","slug":"el-paisaje-espanol-del-xix-del-naturalismo-al-impresionismo","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/el-paisaje-espanol-del-xix-del-naturalismo-al-impresionismo\/","title":{"rendered":"El paisaje espa\u00f1ol del xix: del naturalismo al impresionismo."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Carmen Pena L\u00f3pez <\/strong><\/h2>\n<p>La transicion del paisaje espa\u00f1ol del s.Xix ha sido centrado en la escuela de haes; con esta escuela se pinta por primera vez al aire libre  en espa\u00f1a  primer paso para desarrollar una verdadera escuela de paisaje espa\u00f1ol. La creacion de dicha escuela se ayuda y se apoya en los medios intelectuales que buscaban la regeneracion de espa\u00f1a  intentando entre otras cosas la identificacion con el suelo como paisaje; de aqui que la institucion libre de ense\u00f1anza tenga un papel capital en la conformacion de los nuevos modelos y tecnicas del paisaje y que beruete y moret fuese uno de los mas significativos a la hora de hablar de los nuevos paisajistas espa\u00f1oles: castilla y el guadarrama se considera como paisajes reivindicables segun una estetica cargada de valores morales  y apoyada en la tradiccion pictorica de velazquez. El 98 continuo esta tematica y la desarrollo ampliamente  de aqui que admirasen a la institucion y a beruete; pero ademas contribuyeron a una aceptacion de la descriptiva impresionista  hasta ellos inaceptada.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El paisaje espa\u00f1ol del xix: del naturalismo al impresionismo.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El paisaje espa\u00f1ol del xix: del naturalismo al impresionismo. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Carmen Pena L\u00f3pez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1978<\/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>Antonio Perez Sanchez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Diego Angulo I\u00f1iguez <\/li>\n<li>Antonio Bonet Correa (vocal)<\/li>\n<li>Jos\u00e9 Mar\u00eda Azcarate Ristori (vocal)<\/li>\n<li>Antonio Perez Sanchez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Carmen Pena L\u00f3pez La transicion del paisaje espa\u00f1ol del s.Xix ha sido centrado en la escuela 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 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