{"id":55489,"date":"2018-03-09T22:43:12","date_gmt":"2018-03-09T22:43:12","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-fotografa%c2%ada-com-a-model-en-la-pintura\/"},"modified":"2018-03-09T22:43:12","modified_gmt":"2018-03-09T22:43:12","slug":"la-fotografa%c2%ada-com-a-model-en-la-pintura","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/barcelona\/la-fotografa%c2%ada-com-a-model-en-la-pintura\/","title":{"rendered":"La fotograf\u00edacom a model en la pintura"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Joaquim Cantalozella Plnas <\/strong><\/h2>\n<p>La imatge neutra: la fotograf\u00eda com a model en la pintura de finals del segle xx. Estudia la influencia que ha ejercido el medio fotogr\u00e1fico, tanto en le proceso anal\u00f3gico como en el digital, en la transformaci\u00f3n de los par\u00e1metros establecidos por la modernidad en la pintura de finales del siglo xx, a partir de los an\u00e1lisis de las corrientes y artistas m\u00e1s significativos del debate, vinculados todos ellos con la obra art\u00edstica del autor.     se demuestra como la imagen \u00f3ptica varia nuestra manera de percibir la realidad, y como esto ha sido motivo y forma de muchas de las corrientes pict\u00f3ricas figurativas aparecidas a partir de los a\u00f1os sesenta. Trata de ver como la fotograf\u00eda, lejos de obstaculizar el proceso natural de la pintura, ha contribuido a darle nuevas perspectivas formales y conceptuales. Estudia la funci\u00f3n codificadora que ejercen los modelos fotogr\u00e1ficos en el producto final, y muestra como la pintura acepta sus l\u00edmites y deja contaminarse por otras disciplinas, en detrimento de la pureza formal, para situarse en un lugar m\u00e1s modesto, pero a\u00fan efectivo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La fotograf\u00edacom a model en la pintura<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La fotograf\u00edacom a model en la pintura <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Joaquim Cantalozella Plnas <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 16\/11\/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>Carlos Velilla Lon<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: M\u00aa teresa Blanch malet <\/li>\n<li>Manuel Parralo dorado (vocal)<\/li>\n<li>lino Manuel Cabezas gelabert (vocal)<\/li>\n<li> Peri\u00f3 l\u00f3pez Juan  bta. (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Joaquim Cantalozella Plnas La imatge neutra: la fotograf\u00eda com a model en la pintura de finals 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 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":[951,3806],"tags":[6363,122596,28195,6562,31328,122597],"class_list":["post-55489","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-pintura","tag-carlos-velilla-lon","tag-joaquim-cantalozella-plnas","tag-lino-manuel-cabezas-gelabert","tag-manuel-parralo-dorado","tag-ma-teresa-blanch-malet","tag-perio-lopez-juan-bta"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/55489","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=55489"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/55489\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=55489"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=55489"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=55489"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}