{"id":50224,"date":"2021-06-06T20:51:41","date_gmt":"2021-06-06T20:51:41","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/aportaciones-al-estudio-de-la-pintura-en-aragon-durante-el-siglo-xvi\/"},"modified":"2021-06-06T20:51:41","modified_gmt":"2021-06-06T20:51:41","slug":"aportaciones-al-estudio-de-la-pintura-en-aragon-durante-el-siglo-xvi","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/aportaciones-al-estudio-de-la-pintura-en-aragon-durante-el-siglo-xvi\/","title":{"rendered":"Aportaciones al estudio de la pintura en aragon durante el siglo xvi."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Carmen Morte Garc\u00eda <\/strong><\/h2>\n<p>Se pueden establecer cuatro etapas en la pintura aragonesa del s. Xvi  determinadas  en parte por la llegada de artistas extranjeros que se establecen en zaragoza  de cuyos talleres salen obras para el resto de aragon y la ribera de navarra. En la primera etapa (1500-1530)  a losestilemas del ultimo gotico se van superponiendo las notas renacentistas  italianas y germanicas; p. De aponte es uno de los mas adelantados del renacimiento en esta region. En la segunda (1531-1552)  j. Cosida introduce el pleno renacimiento y la influencia rafaelesca; casi al mismo tiempo el italiano t. Peliguet da a conocer el primer manierismo romano. En la tercera (1552-1572)  p. Morono trae las ultimas novedades de la sixtina y la paolina; los flamencos r. De mois y p. Schepers aportan influjos venecianos y el manierismo peculiar de los palacios (retratos y pintura mitologicas). En la cuarta (1572-1600)  es decisivo el papel de mois en la crisis del romanismo  al que sucede el manierismo  reformado .<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Aportaciones al estudio de la pintura en aragon durante el siglo xvi.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Aportaciones al estudio de la pintura en aragon durante el siglo xvi. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Carmen Morte Garc\u00eda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Zaragoza<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1982<\/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>Federico Torralba Soriano<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Federico Torralba Soriano <\/li>\n<li>Jos\u00e9 Manuel Pita Andrade (vocal)<\/li>\n<li>Antonio Beltran Martinez (vocal)<\/li>\n<li>Jos\u00e9 Rogelio Buendia  Mu\u00f1oz (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Carmen Morte Garc\u00eda Se pueden establecer cuatro etapas en la pintura aragonesa del s. Xvi determinadas en [&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":[147,4100,1111,13610],"tags":[84198,34068,109633,3683,30089],"class_list":["post-50224","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-dibujo-y-grabado","category-teoria-analisis-y-critica-de-las-bellas-artes","category-zaragoza","tag-antonio-beltran-Martinez","tag-carmen-morte-garcia","tag-federico-torralba-soriano","tag-jose-manuel-pita-andrade","tag-jose-rogelio-buendia-munoz"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/50224","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=50224"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/50224\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=50224"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=50224"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=50224"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}