{"id":44722,"date":"2018-12-19T15:17:02","date_gmt":"2018-12-19T15:17:02","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/hernando-de-esturmio-y-la-pintura-sevillana-de-su-epoca\/"},"modified":"2018-12-19T15:17:02","modified_gmt":"2018-12-19T15:17:02","slug":"hernando-de-esturmio-y-la-pintura-sevillana-de-su-epoca","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/hernando-de-esturmio-y-la-pintura-sevillana-de-su-epoca\/","title":{"rendered":"Hernando de esturmio y la pintura sevillana de su epoca"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Serrera Contreras Juan  Miguel <\/strong><\/h2>\n<p>En el presente trabajo se estudia la pintura sevillana del segundo tercio del siglo xvi. Se centra en la figura del pintor holandes hernando de esturmio  del que se hace un estudio biografico y un analisis historico compositivo y estilistico de su obra. Asimismo se estudia la problematica que planteo la hipotetica figura de francisco frutet  pintor creacion de cean bermudez. En estudio comprende igualmente el estudio de luis de vargas pedro de campa\u00f1a y anton perez  pintores que trabajan en sevilla por los mismos a\u00f1os que hernando de esturmio. Se efectua un analisis de las distintas etapas pictoricas de estos maestros  de los cuales se incluyen catalogos de las obras que se aportan. Se estudian asimismo una serie de pintores de la segunda mitad del siglo xvi cuyas obras se habian atribuido a esturmio. Ello permite analizar la pervivencia de esquemas renacentistas en la pintura sevillana de la segunda mitad del xvi. Se incluyen catalogos de todos los pintores estudiados.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Hernando de esturmio y la pintura sevillana de su epoca<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Hernando de esturmio y la pintura sevillana de su epoca <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Serrera Contreras Juan  Miguel <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Sevilla<\/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>Jorge Bernales Ballesteros<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jorge Bernales Ballesteros <\/li>\n<li>Enrique Marco Dorta (vocal)<\/li>\n<li>Jos\u00e9 Mar\u00eda Hernandez Diaz (vocal)<\/li>\n<li>Emilio Gomez Pinol (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Serrera Contreras Juan Miguel En el presente trabajo se estudia la pintura sevillana del segundo tercio del [&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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