{"id":54900,"date":"2006-05-10T00:00:00","date_gmt":"2006-05-10T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/joaquim-claret-escultor-de-la-mediterrania\/"},"modified":"2006-05-10T00:00:00","modified_gmt":"2006-05-10T00:00:00","slug":"joaquim-claret-escultor-de-la-mediterrania","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/barcelona\/joaquim-claret-escultor-de-la-mediterrania\/","title":{"rendered":"Joaquim claret, escultor de la mediterr\u00e1nia"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Cristina Rodriguez Samaniego <\/strong><\/h2>\n<p>La tesis analiza el recorrido personal y art\u00edstico del creador catal\u00e1n. Nuestro an\u00e1lisis de la producci\u00f3n claretiana tratar\u00e1 de poner de manifiesto la importancia que tuvieron, para la historia del arte tanto catal\u00e1n como francesa, las producciones figurativas coet\u00e1neas a las vanguardias. As\u00ed, el proyecto aqu\u00ed resumido tiene como objetivo profundizar en la investigaci\u00f3n de un periodo fundamental, aunque poco tratado, de la historia del arte. A parte de la recuperaci\u00f3n de la figura de joaquim claret  (camprodon, 1879 &#8211; olot, 1967), hemos querido dar una visi\u00f3n del tiempo en que \u00e9ste vivi\u00f3 y trabaj\u00f3. En consecuencia, hemos optado por organizar el discurso cronol\u00f3gicamente y en seis cap\u00edtulos, donde se combinan aspectos biogr\u00e1ficos del escultor con una visi\u00f3n general del momento. Por lo tanto, la tesis otorga una especial relevancia a consideraciones de orden hist\u00f3rico, pol\u00edtico y social, am\u00e9n de la descripci\u00f3n de las actividades de claret y del marco cultural en las que se inscribieron.     la tesis se abre con un cap\u00edtulo dedicado al per\u00edodo formativo del escultor a nivel catal\u00e1n, en olot y barcelona, donde se asentaron las bases de su futura carrera. Hemos considerado importante establecer un repaso a la historia del os centros a los que asisti\u00f3, privilegiando el estudio de sus caracter\u00edsticas fundamentales que influyeron en la formaci\u00f3n del escultor. El cap\u00edtulo se cierra con unas reflexiones relativas al paso de claret a tierras francesas, afectado en torno a 1906. El segundo de los cap\u00edtulos analiza, por un lado, el encuentro entre el escultor y aristides maillol, y los hechos que enmarcaron el trabajo y las exposiciones del camprodonense desde su llegada a par\u00eds hasta 1914, a\u00f1o en que se traslad\u00f3 a nuevo a catalu\u00f1a. Por el otro, efect\u00faa un recorrido por el panorama hist\u00f3rico, pol\u00edtico, literario y art\u00edstico de la francia que acogi\u00f3 a claret, conformando el contexto id\u00f3neo para la defensa de uno de los puntos m\u00e1s releva<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Joaquim claret, escultor de la mediterr\u00e1nia<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Joaquim claret, escultor de la mediterr\u00e1nia <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Cristina Rodriguez Samaniego <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 05\/10\/2006<\/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>Merc\u00e9 Vidal Jans\u00c1\u00a0<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: eliseu Trenc ballester <\/li>\n<li>anna Calver sagu\u00e9 (vocal)<\/li>\n<li>mireia Freixa serra (vocal)<\/li>\n<li>teresa Camps  mir\u00f3 (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Cristina Rodriguez Samaniego La tesis analiza el recorrido personal y art\u00edstico del creador catal\u00e1n. Nuestro an\u00e1lisis 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 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":[7685,951,4363,4510,1014],"tags":[121284,121282,121283,49959,28157,59951],"class_list":["post-54900","post","type-post","status-publish","format-standard","hentry","category-artes-decorativas","category-barcelona","category-escultura","category-estetica-de-las-bellas-artes","category-historia-del-arte","tag-anna-calver-sague","tag-cristina-rodriguez-samaniego","tag-eliseu-trenc-ballester","tag-merca-vidal-jansa","tag-mireia-freixa-serra","tag-teresa-camps-miro"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/54900","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=54900"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/54900\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=54900"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=54900"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=54900"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}