{"id":70920,"date":"2018-03-09T23:15:29","date_gmt":"2018-03-09T23:15:29","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/crisis-y-pervivencia-de-la-figura-humana-en-la-pintura-contemporanea\/"},"modified":"2018-03-09T23:15:29","modified_gmt":"2018-03-09T23:15:29","slug":"crisis-y-pervivencia-de-la-figura-humana-en-la-pintura-contemporanea","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/crisis-y-pervivencia-de-la-figura-humana-en-la-pintura-contemporanea\/","title":{"rendered":"Crisis y pervivencia de la figura humana en la pintura contempor\u00e1nea"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Fernando Garc\u00eda Garc\u00eda <\/strong><\/h2>\n<p>La tesis plantea desde un punto de vista interdisciplinar , un panorama sobre el que establecer un debate en torno al descr\u00e9dito de la representaci\u00f3n pict\u00f3rica de la figura en relaci\u00f3n con su protagonismo absoluto en el arte del pasado .A partir del an\u00e1lisis de ciertos factores hist\u00f3ricos, culturales ,t\u00e9cnicos y art\u00edsticos que influyen en este descr\u00e9dito de la figura y de la pintura durante la segunda mitad del siglo xx, se intenta rastrear cuales sonlas relaciones que a\u00fan pueden establecerse entre el cuerpo como tema art\u00edstico , su representaci\u00f3n por medio de im\u00e1genes de toda naturaleza y la posible persistencia de estas im\u00e1genes enel medio pict\u00f3rico.  con estas permisas, la tesis se divide en tres partes que tratan de esclarecer cuales son las continuidades entre cuerpo, arte, imagen y pintura.  en la primera parte se rastrean las nuevas posiciones del cuerpo como factor creativo en ciertas propuestas del arte contempor\u00e1neo alejadas de la figuraci\u00f3n y delos soportes tradicionales.La segunda parte trata de aproximarse a las funciones socioculturales de la represntaci\u00f3n del cuerpo en im\u00e1geners ;a trav\u00e9s del an\u00e1lisis de las tendencias figurativas contemporaneas , y en relaci\u00f3n con los nuevos medios de creaci\u00f3n y difusi\u00f3n de im\u00e1genes, se evidencia la relaci\u00f3n de la imagen del cuerpo en los procesos de constituci\u00f3n de identidad de los sujetos de un sistema.Por su parte, el tercer tramo del estudio indaga sobre las posibilidades de continuidad de esa representaci\u00f3n del cuerpo en im\u00e1genes desde el medio pict\u00f3rico, a trav\u00e9s del estudio de una serie de pintores contemporaneos pertenecientes a la llamada escuela de londres;la obra de estos pintores aporta la posibilidad de concretar cuales son las cualidades espec\u00edficas de la pintura en relaci\u00f3n con el cuerpo representado.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Crisis y pervivencia de la figura humana en la pintura contempor\u00e1nea<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Crisis y pervivencia de la figura humana en la pintura contempor\u00e1nea <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Fernando Garc\u00eda Garc\u00eda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Sevilla<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 25\/10\/2004<\/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>Antonio Zambrana Lara<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: manuel S\u00e1nchez arcenegui <\/li>\n<li>Juan  bautista Peiro lopez (vocal)<\/li>\n<li> S\u00e1nchez carralero l\u00f3pez Rafael (vocal)<\/li>\n<li> C\u00e1rceles pascual Juan  f. (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Fernando Garc\u00eda Garc\u00eda La tesis plantea desde un punto de vista interdisciplinar , un panorama sobre el [&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":[147,3806,10715,1111],"tags":[7701,154678,75350,31393,21930,94217],"class_list":["post-70920","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-pintura","category-sevilla","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-antonio-zambrana-lara","tag-carceles-pascual-juan-f","tag-fernando-garcia-garcia","tag-juan-bautista-peiro-lopez","tag-manuel-sanchez-arcenegui","tag-sanchez-carralero-lopez-rafael"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/70920","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=70920"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/70920\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=70920"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=70920"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=70920"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}