{"id":5460,"date":"1995-01-01T00:00:00","date_gmt":"1995-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1995\/01\/01\/la-pintura-barroca-en-galicia-1620-1750\/"},"modified":"1995-01-01T00:00:00","modified_gmt":"1995-01-01T00:00:00","slug":"la-pintura-barroca-en-galicia-1620-1750","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/la-pintura-barroca-en-galicia-1620-1750\/","title":{"rendered":"La pintura barroca en galicia (1620-1750)."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Monterroso Montero Juan  Manuel <\/strong><\/h2>\n<p>La pintura barroca ha sido, hasta el momento, uno de los capitulos olvidados dentro del patrimonio artistico gallego. De ahi la necesidad de llevar a cabo una catalogacion y estudios pormenorizados de la misma.  a traves de dicha catalogacion, se ha podido comprobar que, a pesar de cierto retraso en relacion al resto de escuelas pictoricas espa\u00f1olas, tanto la madrile\u00f1a como otras provinciales, nuestro patrimonio pictorico responde a las mismas directrices desarrolladas por aquellas. Asi, junto con un primer periodo de coexistencia de los vocabularios manieristas y barrocos, el correspondiente a la primera mitad del siglo xvii, aparecen, ya en el ultimo tercio de esta centuria, formulaciones plenamente seiscentistas, donde se acusa el empleo tenebrista de la luz. Durante el siglo xviii, por su parte, cabe destacar un primer periodo, entre 1700 y 1740, encabezado por juan a. Garcia de bouzas, y una etapa rocoo que se extiende hasta bien entrado el ultimo tercio del siglo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La pintura barroca en galicia (1620-1750).<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La pintura barroca en galicia (1620-1750). <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Monterroso Montero Juan  Manuel <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Santiago de compostela<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1995<\/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>Jos\u00e9 Manuel Garc\u00eda Iglesias<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Nieto Alcaide Victor Manuel <\/li>\n<li> De Bego\u00f1a Azcarraga Ana M. (vocal)<\/li>\n<li> Fraga Gonzalez M. Del Carmen (vocal)<\/li>\n<li> Vila Jato M. Dolores (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Monterroso Montero Juan Manuel La pintura barroca ha sido, hasta el momento, uno de los capitulos olvidados [&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":[104,1014,222,977],"tags":[21456,21457,18674,21455,5273,21339],"class_list":["post-5460","post","type-post","status-publish","format-standard","hentry","category-historia","category-historia-del-arte","category-historias-especializadas","category-santiago-de-compostela","tag-de-begona-azcarraga-ana-m","tag-fraga-gonzalez-m-del-carmen","tag-jose-manuel-garcia-iglesias","tag-monterroso-montero-juan-manuel","tag-nieto-alcaide-victor-manuel","tag-vila-jato-m-dolores"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/5460","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=5460"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/5460\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=5460"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=5460"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=5460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}